WPBWBP 



m 



^^^^^^^mmmm^mmm^m 



PN 147 
.865 I 
copy 2 






Th* Author s 
Desk Book 



■l:v 



1 






1 






THE AUTHOR'S DESK BOOK 



OTHER BOOKS BY MR. ORCUTT 



Good Old Dorchester. A Narrative 
History 

Princess Kallisto, and other Tales of 
the Fairies 

Robert Cavelier. A Novel 

The Flower of Destiny. A Novel 

The Spell. A Novel 

The Lever. A Novel 

The Moth. A Novel 

The Madonna of Sacrifice. A Story 
oj Florence 

The Writer's Desk Book. A Com- 
panion Volume to " The Author s 
Desk Book'' 






The Author's 
Desk Book 



v- 



Being a reference volume upon 
questions of the Relations of 
the Author to the Pub 
lisher • Copyright • The Re 
lation of the contributor 
to the Magazine • Me 

CHANICS OF THE BOOK • Ar 

rangement of the Book 
Making of the Index • Etc 



^By WILLIAM DANA ORCUTT 7 

for many years Head of The University 
Press • Cambridge • Now associated with 
The Plimpton Press • Norwood Mass 



New York- FREDERICK- A- STOKES 
COMPANY • Publishers • MCMXIV 



V 

\ 






Copyright, 1914, by 
Frederick A. Stokes Co. 




August, 1 91 4 



TH E-PLIMPTON'PRESS 
NORWOOD* MASS. U • S • A / 

AUG I / 1914 

©CI.A870117 ^ 



CONTENTS 

PAGE 

Relations of the Author to the Publisher 3 
Submitting the Manuscript — Publishing at the 
Author's Expense — Making the Contract — 
Contract Form — Moving-Picture Rights — 
Reports on Royalties. 

The Copyright - . . 31 

How to Secure Copyright Registration in the 
United States — How to Secure Copyright 
Registration of Periodicals — How to Secure 
Copyright Registration of Motion-Pictures — 
Ad Interim Protection — Assignment of Copy- 
right — 'Fees — The Duration of Copyright 

— The Protection of Titles — Application 
Forms — Practical Procedure — International 
Copyright. 

Relations of the Short-Story Writer to 

the Magazines 58 

Copyright — Practical Suggestions — Dealings 
with the Editor — The Literary Agent. 

Mechanics of the Book 65 

Estimating the Manuscript — The Sample 
Page — The Typesetting — The Proofs — 
Proof Marks — The Plates — TKe~CoveTT)e- 
sign and the Illustrations — The Engraving 

— The Die Cutting — The Paper — The 
Presswork — The Binding. 

Arrangement of the Book 88 

The Layout — Bastard-Title — Advertising 
Card — Title-Page — Copyright — Dedication 

— Preface — Table of Contents — List of 
Illustrations — Introduction — Half-Title — 
Limit Notice — In General — Basic Sizes of 
Books — English Paper Sizes — Margins. 



VI CONTENTS 

Making the Index 98 

What to Index — Plan — Definition of Terms — 
Procedure — Arrangement — Adjective-Head- 
ings — Subject-Matter — Rules and Examples. 

Glossary of Terms 131 

Index 153 



THE AUTHOR'S DESK BOOK 



RELATIONS OF THE AUTHOR 
TO THE PUBLISHER 

1 HERE is much which is intangible in the 
relations between an author and his publisher. 
While it is true that modern commercialism 
has invaded this field as it has all others, there 
are probably no actual business relations more 
dependent upon mutual confidence than those 
which exist between the writer who produces 
a manuscript which he wishes to have pub- 
lished, and a publisher who wishes to secure 
for the purpose of publication a manuscript which 
he believes to contain elements of probable suc- 
cess. This is due to many reasons, the first 
and most important of all being that each is 
in a position to add to his reputation and suc- 
cess by the efforts of the other. Many a 
publisher has by legitimate and judicious 
business sagacity established the reputation 
of a previously-unknown author; many an 
author has placed a small publishing-house in 
a position of importance, or added to the fame 
of a house already established. 

Another reason for these closely-identified 
interests is the fact that the average writer is 
not experienced in business matters, but relies 
largely upon the integrity of the publisher to 
whom he intrusts himself. For the same 
reason, the publisher feels an added responsi- 



4 THE AUTHORS DESK BOOK 

bility to protect the interests of the author, 
realizing the fact that he has been placed in 
the position of agent, to conduct affairs in the 
joint interests of both. Even if there have 
been cases where this confidence has been mis- 
placed, they are exceptions which do not affect 
the general statement. 

The fact that the average author is not versed 
in business detail has brought into being the 
literary agent, 1 who offers to stand between 
the author and his so-called natural enemy, 
the publisher. There is no doubt that fre- 
quently the efforts of these literary agents 
result in temporary pecuniary advantage to 
the author, but the common consensus of 
opinion is that in the long run the author will 
best serve his own ends by co-operating with 
his publisher, rather than by employing any 
intermediary. Confidence begets confidence, 
and fair play invites a personal interest which 
is an asset, the value of which cannot be 
over-estimated. When a manuscript has been 
offered competitively, and is finally secured by 
the highest-bidding publisher, it by no means 
follows that the net returns from this contract 
will exceed or equal what the author might 
have received through some other publisher, 
better equipped to sell it, who would have 
taken a pride far beyond mere commercial 
advantage in making it a successful venture. 



1 See page 63. 



AUTHOR AND PUBLISHER 5 

Take, for example, the question of advertis- 
ing. If a publisher issues a volume written by 
ah author whose later work is likely to be given 
to another house, he realizes that whatever 
investment he makes must be charged off 
against this particular book. On the other 
hand, if he feels that the author's relations are 
such as to make it probable that the present 
publisher will have an opportunity to share in 
his later success, then it is good business for 
him to invest a larger sum in advertising the 
author than he could possibly afford to expend 
upon any single book. Here again is the 
mutual interest. The author's reputation rests 
in a large measure in the hands of his publisher, 
and he shares equally in any advantage which 
accrues to the publisher from the publicity 
which comes to both. 

From still another standpoint, the author 
can secure material assistance from intimate 
relations with his publisher. Many a novel 
owes its success to the advice given by the 
editorial staff of the publishing-house. Many 
a strong story would never have reached its 
audience because of mechanical or structural 
defects, which the publisher helped to over- 
come. There have been instances of unwise 
editorial advice, and of undue pressure brought 
to bear upon the author to the detriment of 
his literary production, but these cases are 
rare compared with those of helpful assistance, 
which every successful writer will gratefully 



6 THE AUTHORS DESK BOOK 

acknowledge he has received from his publisher. 
In general, the publisher is a wise person in his 
own field, and as the ultimate success of a book 
depends upon its sale, his advice is usually 
based upon a knowledge and an experience 
which the author cannot possess. To make 
his business a success, the publisher, as well 
as the author, must interject his own person- 
ality, this expression taking the form of per- 
sonal suggestions, of determining the physical 
aspect of the volume, of selecting the artist, 
of arranging methods of publicity, and of mak- 
ing plans for interesting the retail booksellers. 

Few publishers depend upon the judgment 
of their " readers" to the extent of accepting 
or declining manuscripts wholly upon their 
opinions. It is inevitable that a large propor- 
tion of the manuscripts submitted should be 
culled out and discarded by the professional 
reader without ever reaching the final court of 
appeal. These readers consider each story 
from two distinct standpoints: (i) Has the 
author a real story to tell? and (2) How well 
has the story been told? If the manuscript 
fails to stand the test of the first question, its 
doom is sealed at that point; if it passes 
through this test, even though it fails in the 
second, it will be referred to the publisher for 
a final reading, with the critic's comments 
affixed to it. 

It is remarkable how many manuscripts in 
this state are actually read by the publisher 



AUTHOR AND PUBLISHER 7 

himself, in view of the countless other details 
which naturally devolve upon him; but here 
is where he recognizes the first claim upon his 
personality. His viewpoint differs from that 
of his reader only in that it has narrowed down 
to three main questions which he demands of 
each manuscript: (1) Does it conform to the 
standards of the house? (2) To what and how 
large an audience will it appeal? (3) Will the 
probable returns warrant the initial investment? 

Having settled these points in his mind, the 
publisher will further consider the literary 
value of the story. If the plot is strong and 
original but clumsily constructed, he will dis- 
cuss the situation frankly with the author, 
and will advise him to rewrite such portions 
as demand revision. Many a successful author 
has learned how to tell his story through his 
publisher's assistance, and owes his present 
reputation to the fact that some publisher 
discovered in his early, amateurish efforts 
the germs of strength and originality, almost 
smothered by structural faults. 

After the manuscript is ready for the printer, 
it is the publisher's function to decide upon its 
physical aspect, combining business judgment 
and personal taste in producing a volume in 
keeping with its content, and in such a dress 
as to attract to it that class of bookbuyers who 
are influenced by its attractiveness. Nowhere, 
perhaps, is the fickleness of the public shown 
more than in the taste displayed by this class 



8 THE AUTHOR'S DESK BOOK 

of buyers, and styles obtain in this as much as 
in millinery or in dress. 

With the plan of the building of the book 
determined, the publisher undertakes to create 
a demand, first from the booksellers and later 
from the public. The traveling salesman is 
the usual means to accomplish the first end. 
He makes his regular trips at stated seasons, 
covering the entire country, carrying with him 
"traveler's dummies/' which usually consist 
of a stamped cover of each book, inside of which 
are fastened representative pages and proofs 
of illustrations. From these samples, the sales- 
men take their " advance orders," and the 
publisher usually awaits the tabulation of 
these before deciding upon the size of his first 
edition. 

Other methods are employed in addition to 
these, varying with the ingenuity of each pub- 
lisher: such as the sending out to the booksellers 
of advance copies or sheets, writing special 
letters, giving synopses of the stories, etc., all 
of which advance preparation requires time 
and thought. Authors sometimes become im- 
patient over what seems to them to be unwar- 
ranted delays, when in reality the publisher is 
serving their interests as well as his own by 
creating a market before actually placing the 
book on sale. 

To create a demand on the part of the public 
is as difficult in marketing books as any other 
commodity. Advertising helps, of course, but 



AUTHOR AND PUBLISHER 9 

as to the amount, nature, and method of adver- 
tising, each publisher has his own ideas. Each 
author naturally regards his own work as 
deserving of the maximum publicity, but the 
publisher is obliged to consider his list as a 
whole. If he thinks it wise to invest a large 
sum in advertising a particular story, it is 
because he believes that story to possess an 
appeal to the public sufficient to warrant this 
investment. His judgment may be wrong, 
and often is. The book he depends upon does 
not respond as he expects, and some other book, 
in which he did not have as much confidence, 
for some unknown reason suddenly shows 
unexpected strength. But the publisher has 
been honest in his attempt, even though 
faulty in his judgment, and the author who 
recognizes this in his attitude to his publisher 
will go far toward cementing the bonds of 
co-operation which inevitably bring success 
to those writers who actually possess, the 
genius to demand it. 

The fact that one author's contract differs 
from another's cannot be taken as evidence 
that the publisher has not fulfilled his entire 
responsibility to both. An author without an 
established reputation has no right to expect 
as attractive a contract as one whose name is 
of known value to the publisher's list. 



10 THE AUTHORS DESK BOOK 



SUBMITTING THE MANUSCRIPT 

The enormous number of manuscripts with 
which the publisher is deluged makes it ab- 
solutely necessary, for self-interest, to submit 
typewritten copy. Some houses make it a rule 
to return handwritten manuscripts unread. 

The manuscript should not be bound together 
in any way, but the pages should be carefully 
numbered consecutively. 

The best size of paper is the standard 8| by 
ii, and the sheets should be uniform in size. 

The paper should not be shiny or slippery, 
as this affects the eyes of the reader unpleas- 
antly. 

Each page should contain approximately the 
same number of lines, as this assists the pub- 
lisher in estimating the number of words, and 
in determining the probable size of the printed 
volume. 1 

Always retain a duplicate copy of a manu- 
script, to prevent loss by fire, theft or other 
accident. It is an undue responsibility for 
an author to place upon a publisher to submit 
to him the only copy of a manuscript in exist- 
ence. If the manuscript be accepted, it is 
also an advantage to have a copy for the use 
of the artist, etc. 

Write on one side of the paper only. 

Deliver the manuscript to the publisher flat 
rather than rolled or folded. 



1 See page 69. 



AUTHOR AND PUBLISHER II 

Manuscript copy costs two cents an ounce 
for mailing; when mailed with proof it costs 
one-half cent an ounce. 

In fastening one piece of paper to another, 
or in fastening addenda upon pages already 
written, use mucilage rather than pins or clips. 

Be sure that the author's name and address 
are plainly marked upon the manuscript. The 
usual location for this is the upper left-hand 
corner of the first page. 

PUBLISHING AT THE AUTHORS EXPENSE 

It may be taken as a general statement that 
if a book possesses sufficient merit to warrant 
its publication at all, a publisher can be found 
who is willing to assume the entire risk of the 
expense of publication. This statement does 
not apply to scientific, technical, or special 
works which publishers are glad to have upon 
their lists, but which must be subsidized from 
some source in order to make publication 
financially possible. In the case of a novel, 
the statement has no exceptions. No first- 
class publishing-house will issue w T ith its im- 
print, at the author's expense, a novel in which 
it cannot have sufficient confidence to warrant 
it in assuming the entire expense. 

Frequently the unknown author, eager to 
secure the publication of his work, is willing 
to make any sacrifice, or any terms, with al- 
most any house which is willing to assist him 
in accomplishing the desired result. In fact, 



12 THE AUTHORS DESK BOOK 

there are publishing firms who confine their t 
operations to the publication of manuscripts 
to be paid for entirely by the writer. The 
general proposition is that the author assumes 
the cost of publication, the publisher places 
against this his expense of doing business, and 
the value — such as it is — of his imprint; 
and then author and publisher divide the 
profits. 

Unfortunately, it is the rarest thing that 
there are any profits to divide; and the part 
of the whole transaction which is deplorable 
is that the publisher must know in advance 
that he has, to a certain extent, played upon 
the vanity of the author, — not so much, 
perhaps, in what he has actually said to him, 
as in the fact that he has shown an enthusiasm 
which leads the author to think that he has 
really produced a "best seller.'' There is a 
legitimate fee for privately-printed books if 
the author goes into the transaction with his 
eyes open, and accepts the services of the 
publisher as an agent, allowing the publisher's 
profit to stand as a return for services rendered. 

Authors should be particularly wary of heed- 
ing solicitations from publishing-houses for 
manuscripts to be published in this way. 

MAKING THE CONTRACT 

There have been several new elements, in 
recent years, entering into the contract between 
author and publisher, which have made it a 



AUTHOR AND PUBLISHER 13 

more complicated business-partnership than in 
the past. It was not so long ago, for instance, 
that neither author nor publisher would spend 
much time discussing the clause relating to 
dramatization; for few novels were then 
dramatized, and the chance of having this 
clause become of importance was remote. To- 
day, however, nearly every author considers his 
work teeming with potential dramatic proba- 
bilities, and the fact that so many plays have 
been produced, based upon successful novels, 
naturally leads the publisher to wish, if possi- 
ble, a share in this supplementary reward. In 
considering this clause, therefore, the author 
must take into account the part which his 
publisher is likely to play in advancing the 
interests of both along these lines. 

The present stock contract of most publish- 
ing houses assigns the dramatic rights to the 
publisher, but provides that the author shall 
share in such profits as may accrue from the 
dramatization. 1 Just where the division shall 
occur is a subject for discussion. It seems a 
fair contention on the publisher's part that 
any interest in dramatization comes from the 
popularity which a novel attains, and that 
this attainment results from his energy and 
ability in placing the book before the public 
as much as from the merit of the story itself. 
If the author feels this position to be war- 



1 See Contract Form, page 22. 



14 THE AUTHOR^ DESK BOOK 

ranted, he will undoubtedly accept an equal 
division; if not, he will insist that the clause 
be stricken out. 

The moving-picture rights * add a still more 
recent factor to the consideration of the con- 
tract. The development of the moving-picture 
business has been so rapid that the demand 
found both publishers and authors unprepared 
for the unexpected, but no less welcome market 
for what must be considered a by-product. 
And the possibilities of its further extension are 
so unlimited that the returns from this single 
source alone may easily prove of greater value 
than the original right to publish the novel. 
Here, then, is a point which could never have 
appeared in the old-time contract, yet which 
now warrants the most careful consideration. 

The serial rights x have long formed a definite 
clause to be included or omitted. Often the 
publisher's contract is not made until after 
the serial publication of the story has been 
arranged, in which case it is naturally an en- 
tirely independent business transaction. Fre- 
quently, however, the publisher places the story 
serially for the author, arranging his own date 
of publication to conform. Obviously, under 
these conditions, the publisher is entitled to 
share in the returns from the serialization. 

The " second serial rights" represent still 
another phase. It is the custom for publishers 



1 See Contract Form, page 22. 



AUTHOR AND PUBLISHER I§ 

to sell these rights to newspapers, and to re- 
ceive their pay not in cash but in advertising 
space, since by so doing they receive more 
than they could get for a fair equivalent in 
cash. This second serialization does not ordi- 
narily take place until a story has had its sale, 
and its appearance in this cheaper form is 
not supposed to affect the author's royalties 
one way or the other. The advertising space 
thus secured is used not to advertise the story 
so serialized, but other, later books issued by 
the same house. The publisher usually credits 
the author's royalty account with an arbitrary 
sum, equivalent in his estimation to the value 
of the transaction. Few contracts contain 
any clause covering this point. The pub- 
lisher argues that the author, in all probability, 
could not have disposed of these rights at any 
price, and that whatever amount he receives 
is clear gain. 

The contracts of various publishing-houses 
differ in their clauses covering " author's 
alterations," which include all changes made 
from the original manuscript as delivered to 
the printer. Some publishers allow a flat 
sum of $25 *; others allow 10% of the printer's 
bill for composition and electrotyping. The 
average author cannot understand the expense 
of making changes after the manuscript has 
been put in type, and this point is one of the 



1 See Contract Form, page 20. 



16 THE AUTHOR^ DESK BOOK 

most disagreeable features which creep into 
the relations between author and publisher. 
It is inevitable that certain changes should be 
required when the author sees his work reduced 
to the rigidity of type, but the publisher should 
certainly not be expected to pay the penalty 
for elaborate changes which are the results of 
the author's carelessness or change of heart. 1 

The rate of royalty depends upon the value 
of the author's name to the publisher's list, 
but the normal rate is 10% of the retail price. 2 
Some publishers demand that the first thousand 
copies shall be exempt from royalty, but this 
is looked upon to a certain extent as taking 
advantage of the author's lack of reputation. 
The best houses, if they are willing to publish 
a book at all, are willing to take the whole risk, 
allowing the author returns on every copy sold. 

On fiction, the rate goes up from 10% to 
33"3%> but at this latter rate the publisher is 
giving the author more than he can afford, 
hoping to make up for his plunge by the impetus 
which this fortunate author's name will give 
to the balance of the list. Broadly speaking, 
20% is the maximum a publisher can afford to 
pay, and then only on a book which is prac- 
tically certain to win a place among the best 
sellers. A method which seems fair to all 
concerned is what is called the " progressive 



1 See comments on page 65. 

2 See Contract Form, page 21. 



AUTHOR AND PUBLISHER 17 

royalty. " This gives the author say 10% on 
the first ten thousand copies, 15% upon the 
next ten thousand, and 20% upon all copies 
sold over twenty thousand. An arrangement 
such as this gives the publisher an opportunity 
to charge off all his initial expenses of manu- 
facture, and to be liberal in his advertising 
appropriations in extending and continuing the 
sale of the book. 

The royalty upon common- and high-school 
textbooks is normally 7§% to 10%, but as 
the publisher frequently makes special prices 
to secure large adoptions, the rate may be less. 
Special clauses are usually inserted into con- 
tracts made with authors of books of this 
nature, to cover these contingencies. College 
textbooks command 10% to 15%. 

The clause relating to English rights x is 
unimportant to the average American author, 
for American stories do not as a rule sell well 
in England. As a leading English publisher 
once jocosely told the writer: "The average 
American novel deals either with society or 
sport, and we in England don't think you know 
much about either in America." If, however, 
the author believes his book has a chance, in 
all probability the publisher will strike out the 
clause, and give him a free hand to make his 
arrangements direct. The question of Colonial 
rights should not be overlooked, as these some- 



1 See Contract Form, page 22. 



l8 THE AUTHOR'S DESK BOOK 

times prove to be of greater value than the 
English rights themselves. 

The "option" clause, 1 giving the publisher 
the refusal of subsequent books, is one which 
every publisher is glad to have, as it binds him 
to nothing and may prove of value if the 
earlier story of the author is successful. On 
general principles, it is the part of wisdom, 
in any contract, to make no agreement which 
does not bind both parties. An author should 
consider the probable advantage to himself 
in having the publisher feel sufficiently certain 
of retaining him upon his list to warrant the 
expenditure of larger sums, in advertising and 
in pushing the book in hand, than would be 
safe if the author were free to take his next 
manuscript to another publisher. 

The present writer is a strong believer in 
the advantage to the author of remaining 
on a single publisher's list, provided the pub- 
lisher has shown himself to be enterprising, 
and inclined to advance the author's inter- 
ests simultaneously with his own. There are 
unquestionably many instances where an au- 
thor can secure larger royalties by "shopping 
around," but in the long run better results will 
come from a consideration of the bonds between 
author and publisher in the light of a business 
partnership, not to be broken while relations 
remain amicable. 



1 See Contract Form, page 21. 



AUTHOR AND PUBLISHER 19 

At present there is no uniform book contract 
used by all publishers. The blank contract 
form here given is that used by a reputable 
publishing-house. As a matter of fact, no 
present contract of any publisher is wholly 
satisfactory, and it is interesting to note that 
the subject of contract is one which the leading 
houses are taking up seriously with a view to 
standardization and improvement. 

Contract form : 

MEMORANDUM OF AGREEMENT made this 

day of , 19 .... , between 

, party of the first part (hereinafter called 

the Author), and of , party of the 

second part (hereinafter called the Publishers), WIT- 
NESSETH: That 

WHEREAS the said is the author 

and proprietor of a work entitled (herein- 
after called "the Work"), and desires that the same 
be published and put on the market by the said 



NOW, THEREFORE, in consideration of the 
premises and of One Dollar to each in hand' paid by 
other, the receipt whereof is hereby acknowledged, the 
the parties hereto do covenant and agree as follows: — 

FIRST: The Author hereby bargains, sells, grants, 

conveys, transfers and sets over unto the said 

the sole and exclusive 1 right and privilege to print, 
publish and put on the market the said Work, during 
the whole term of its copyright and all the renewals 
thereof in the United States of America and in the 
Dominion of Canada and elsewhere 2 ; the Publishers 
shall also have all rights of translation, abridgment, 



1 See qualifications later. 



20 THE AUTHOR'S DESK BOOK 

dramatization, moving-picture rights, selection, and 
other rights of, in, or to said Work in the United States 
of America and in the Dominion of Canada and else- 
where. 1 

SECOND: The Author hereby guarantees 

I. That he is the legal author and sole proprietor of 
the said Work hereinabove mentioned, and that he has 
the sole and exclusive right to dispose of the same. 

II. That the said Work has not heretofore been pub- 
lished, and that it is in no way a violation of any existing 
copyright, either in whole or in part, and that it con- 
tains nothing of a scandalous, an immoral or libelous 
nature. 

THIRD: The Author covenants and agrees 

(a) That he will keep the Publishers safe, whole and 
harmless from all damage, hurt and expense of every 
nature, kind, and description whatsoever arising from 
any claims of infringement of copyright or from any 
matter or thing contained in said Work. 

(b) That he will deliver to the Publishers full and 
complete manuscript of said Work, on or before the 

day of , and that he will pay 

all expenses for corrections 2 in plates after last proof 
from type, whether page or galley, has been corrected 
by him and such corrections carried out by the composi- 
tors. The manuscript thus given to the Publishers 
shall be final revised "copy." In this regard it is 
understood that in case, because of danger of serious 
delay in publication or of the loss of copyright, oppor- 
tunity is not given the Author to read proof as here- 
inbefore provided, the cost of plate corrections not 
necessitated by typographical errors shall still be borne 
by the Author, unless delay in sending proofs from type 
is due to gross negligence on the part of the Publishers. 
If the Publishers are required by the Author to make 
corrections or alterations in the type (not necessitated 



1 See comments on page 17. 

2 See comments on page 15. 



AUTHOR AND PUBLISHER 21 

by typographical errors) costing in excess of twenty- 
five dollars, the Author agrees to pay the excess of cost. 

(c) That he will give to the Publishers the first 

refusal of the next 1 to be written by him, 

hereby granting to the said Publishers, on the same 
terms as those of this contract, an option on the pub- 
lication thereof for days after the manu- 
script shall have been delivered to them. 

{d) That he will take or cause to be taken all neces- 
sary steps to effect renewals of copyright as provided 
for by law. 

FOURTH: The Publishers hereby covenant and 
agree 

I. To copyright 2 the said Work in the United States 
of America in the name of the Publishers, and to take 
all usual precautions to protect the same. 

II. To publish said Work and put the same on the 
market at their own expense, in such style and manner 
as they shall deem expedient, and at such time or times 
as they shall see fit, it being understood that the ad- 
vertising, the number and destination of free copies, and 
each and every detail as to manufacture and publication 
shall be in the exclusive control of the Publishers. 

III. To pay to the Author 3 per cent, on the 

catalogue (retail) price, regular cloth style, for all 
copies of said Work actually sold by them, which shall 
be construed as not including copies given to the Author, 
travelers' samples, damaged copies, copies given away 
for the purpose of aiding the sale of the Work, copies 
sold at or below cost, where falling off in profitable 
sales in any style of binding requires this, or copies 
sold at a catalogue (retail) price of fifty cents or less, 
or copies sold in foreign countries. 1 

IV. To pay upon all copies of the said Work sold 
and paid for at a catalogue (retail) price of fifty cents 



1 See comments on page 18. 

2 See comments on page 31. 

3 See comments on page 16. 



22 THE AUTHOR^ DESK BOOK 

or less, or copies sold in foreign countries, one-half of 
the first above-mentioned royalty or percentage on 
the foreign 1 catalogue (retail) price of the same. 

V. To pay upon all copies of the said Work sold at 
" remainder" prices (except when sold at or below cost) 
ten per cent, of the actual net price received. Such 
" remainder" prices shall not exceed one-third of the 
retail price of the Work. 

VI. To pay to the Author the sum of . on the 

. . . .day of in advance and on account of the 

royalty or percentage to accrue to the Author as here- 
inbefore specified. 

VII. To give to the Author 2 copies of said 

Work, and to sell to him further copies for his personal 
use at the trade 3 price. 

VIII. No payment shall be made by the Publishers 
for permission gratuitously given to publish extracts 
from said Work to benefit the sale thereof; but if the 
Publishers receive any compensation for the publication 
of extracts therefrom, or for serial use after publication 
in book form, or for translations, or abridgments, such 
compensation shall be equally divided between the 
parties hereto. 

IX. If the publishers receive any compensation for 
rights of dramatization, moving-picture rights, 4 or first 
serial rights, such compensation shall be divided in 

the proportion of 5 to the Author, and 

to the Publishers. 

X. To submit statements of sales as of the second 
Monday in January [and the first Monday in July], 6 



1 See comments on page 17. 

2 This varies from five to twelve copies. 

3 Usually one-third discount from retail price. 

4 See comments on pages 13-14. 

5 See comments on page 13. 

6 The bracketed words show the alternative arrange- 
ment on basis of semi-annual royalty accounting. See 
comments on page 29. 



AUTHOR AND PUBLISHER 23 

on April 1st (and October 1st respectively) in each and 
every year, and to settle for the same in cash on the 
first of every May (and the first of every November), 
respectively following. 

FIFTH: It is further covenanted and agreed by 
and between the parties hereto as follows: 

A. If at any time during the continuance of this 
agreement the Publishers wish permanently to discon- 
tinue the publication of said Work, they shall notify 
the Author in writing, mailed to his latest-known 
address, and for thirty days thereafter he shall have 
the option or right to buy from the Publishers all 
copies on hand at the cost of manufacture, and (should 
these not have been destroyed by fire or otherwise) 
stamps and electrotype plates if any, at one-third their 
cost to the Publishers, paying in addition for engravings 
of the illustrations, if any, twenty-five cents per square 
inch of eac,h plate, and upon the failure of said Author 
to exercise this right or option, by paying for the same 
in cash within said time, said Publishers shall dispose 
of the same as they may see fit without any commission 
or percentage whatsoever, and this contract shall forth- 
with cease and determine. 

B. If, after the publication of any edition of said 
Work, the plates be rendered useless by fire or other- 
wise, the Publishers shall have the option of reproducing 
them or not; and if they shall decline to reproduce 
them, then, after the sale of all copies remaining on 
hand, they shall, upon written request, reconvey to the 
Author the copyright and all rights herein granted, 
and this contract shall terminate. No insurance shall 
be effected by the Publishers for the Author. 

C. The parties hereto hereby agree to settle all dis- 
putes and differences under this contract by arbitra- 
tion. One arbitrator shall be chosen by each party to 
this agreement, and these two arbitrators shall select 
a third, and the decision of a majority of the arbitrators 
shall be final and shall be binding upon the parties 
hereto. 



24 THE AUTHO r's DESK BOOK 

D. It is understood and agreed that the Publishers 
are not insurers of manuscripts or drawings placed in 
their possession, and that they shall be liable for gross 
negligence only in the care of the same. 

It is understood and agreed that this instrument 
shall bind the parties hereto, their heirs, executors, 
administrators, successor, successors or assigns. 

IN WITNESS WHEREOF the parties hereto have 
hereunto interchangedly set their hands and seals the 
day and year first above written. 

IN THE PRESENCE OF 

As to the Author 

As to 



MOVING-PICTURE RIGHTS 

The tremendous development in the moving- 
picture business has created a demand for 
dramatic films taken from long stories, or for 
a reproduction entire of short stories, which 
offers an entirely new and unexpected rev- 
enue to both publisher and author. Moving- 
pictures have passed from the experimental 
period into an institution. The reproduction 
entire of certain famous stories has given to 
the enterprise a dignity which no one could 
have predicted, and the outlet they offer for 
a by-product is considered perfectly legitimate. 

All this produces new conditions in the rela- 
tions between author and publisher, and many 
new questions have arisen which neither one 
may have anticipated at the time the contract 
was drawn. It is still necessary to have 



AUTHOR AND PUBLISHER 25 

interpretations of the laws governing dramatic 
regulations, and of the rights involved. 

It has been the practice of the moving-picture 
producer to buy his plots outright, but with the 
new knowledge which has come to the writers 
of scenarios and plots of the real value of these 
when once assured of success, has also come a 
realization of the advantages of making roy- 
alty arrangements instead of selling outright. 

As far as the future is concerned, authors 
should familiarize themselves with the various 
intricacies of this particular field before signing 
contracts, making sure that the contract clearly 
defines the exact basis of what they part with 
and what they retain, or the percentage of 
ownership which the author holds in any one 
of the various rights. 

The following excellent summary is supplied 
by the "Authors' League" to its members: 

"While the business of motion photography is by 
no means new, it is only within comparatively recent 
times that there has been a general demand for scena- 
rios and plots. Within the last two or three years 
authors have found a new and unsuspected source of 
revenue in the sale of ' Cinema' rights to their short 
stories, and, although the returns were usually small, 
they formed a welcome addition to the writer's income. 
Prices frequently depended more upon the advertising 
value of the author's name than upon the character of 
the material, and ranged from $15 to $150; neverthe- 
less, many persons not engaged in the usual forms of 
literary work have reaped a substantial harvest from 
that source. Until recently, subjects have been com- 
monly confined to one reel of 1000 feet in length, but 



26 THE AUTHORS DESK BOOK 

owing to the rapid development of the motion-picture 
business there has arisen a demand for more preten- 
tious photoplays, for ' feature films ' of multiple reel 
length, and, in consequence, many famous books and 
dramas have been, and are being, photographed. 

"The demand is logical and promises to be perma- 
nent, hence the producer finds himself in need of good 
subjects, and the author is beginning to recognize his 
photoplay rights as something more than an insig- 
nificant by-product of his labor. 

"It has been the picture-producer's practice to pay 
cash for his plots, but royalty arrangements covering 
1 feature films' are now being made. The latter method 
has its drawbacks, for, owing to the existence of a 
middle-man, it is more difficult for the photo-playwright 
to share in the full returns of his work than it is for the 
author of a book or play. The book-publisher or 
theatrical-producer distributes his goods directly to 
the public, and the author receives a royalty on the 
retail price of the book in the one instance, and on the 
box-office receipts in the other. The motion-picture 
manufacturer, on the contrary, does not sell his films 
to the theater or to the public, except in certain cases 
noted later, but to an 'exchange' or series of exchanges, 
which in turn leases to the exhibitor. Under this 
practice, therefore, the author receives a percentage 
only upon the rental or purchase price paid by the 
exchange to the manufacturer. 

"The exceptions above referred to, under which the 
■author may more nearly share in the full returns from 
his photoplay, is when state rights, foreign rights, etc., 
to ' feature films' are sold or leased for cash, without 
passing through the hands of the exchanges, or when 
the producer elects to exhibit his films in his own or 
leased theaters. It may be seen, therefore, that while 
a sale on a royalty basis is in some ways unsatisfac- 
tory from the author's standpoint, it is on the whole 
preferable to a cash sale. 

"The exchanges are, in effect, circulating libraries, 



AUTHOR AND PUBLISHER 2J 

which distribute reels of film instead of books. The 
results are similar to those arising from the English 
library system, under which large book sales are almost 
impossible, and under which neither author nor pub- 
lisher profits greatly from a book's popularity. There 
is this difference, however: the publishers of Great 
Britain do not own the libraries, while in this coun- 
try the exchanges — at least to a great extent — are 
owned by the manufacturers. 

" Since many writers are totally unfamiliar with the 
conditions of the trade, a word of explanation may be 
of value and avoid bewilderment. Broadly speaking, 
the motion-picture field is occupied by two factions — ■ 
the ' licensed' manufacturers, with their own exchanges 
and exhibitors, and the 'independents.' The former 
are composed of ten producing firms, the patents and 
rights under which they operate being vested in a hold- 
ing company — The General Film Company — which 
is the sales-agent for all regularly released films of the 
coalition, and has about fifty branches. These manu- 
facturers make only 'licensed' films, and distribute 
their regular releases only through the general film 
company, which in turn leases exclusively to licensed 
theaters, of which there are about 10,000 in this country. 

"The remaining producers, exchanges and exhibi- 
tors comprise the independents. 

"When an ordinary film of 1000 feet is made, it is 
released for exhibition on a given date, and is then 
termed a 'first-run picture.' As it gradually wears 
out, this rental grows less, and in about six months it 
is called in and destroyed. If the subject is popular, 
reprints are made, and distributed as before. ' Feature 
films ' comprising several reels are sometimes handled 
as previously noted. Foreign rights are most frequently 
sold outright." 



28 THE AUTHORS DESK BOOK 

Don'ts for Authors 

" Don't give away your photoplay rights in selling 
a story for magazine or book publication. 

" Don't include them in a dramatic contract without 
some clause similar to that governing stock rights. 

" Don't sell them to the first bidder. 

" Don't sell them for cash if you can secure a con- 
tinuing interest in the film. It may be of value ten 
years hence. 

" Don't decide that your story will not make a 
motion-picture. It may contain values which you do 
not see. 

"Don't decide that your story will make a good 
photoplay until you understand something about the 
requirements and limitations of the business. Remem- 
ber, every film must be passed by the National Board 
of Censors. 

" Don't forget that your story must be told in pan- 
tomime. 

" Don't turn your photoplay rights over to the 
stranger who offers to adapt and handle your stories 
for one-half the proceeds. 

" Don't forget that you probably sold 'all rights' 
to your story when you signed that receipt. 

" Don't sell the producer a right which you don't 
own, and make him buy it over again from the present 
owner. He won't like it." 



REPORTS ON ROYALTIES 

The methods employed by the various pub- 
lishing-houses in keeping and rendering their 
accounts with authors vary with each house, 
but all publishers are alike to the extent of 
realizing that this end of the business must be 
absolutely above suspicion. An unwarranted 
rumor, or a clerical error, would raise a ques- 



AUTHOR AND PUBLISHER 29 

tion which might affect the standing of the 
house more than any other one thing. For 
this reason, the royalty records of all reputable 
publishing firms are so kept that they may be 
easily inspected if any question arises, and no 
objection would ever be made to a request from 
an author to make an examination should he 
feel that circumstances justified it. 

The publisher recognizes that each author is, 
in a sense, his partner in the production of a 
book, and as such is entitled to intimate infor- 
mation regarding the progress of their joint 
enterprise. Semi-annual statements are ren- 
dered, which are often verified by certified 
reports from the publisher's printers and 
binders, covering the number of copies manu- 
factured and sold during each period. Some 
publishers include a report of the number of 
copies distributed for review or other advertis- 
ing purposes; some do not. Some have these 
reports checked by public accountants, who 
compare the statements of sales with the bills 
for printing and binding and the inventories 
for paper. But all these varying methods are 
based upon accurate, detailed records, which 
are carried forward regularly to the author's 
account. 

Payments upon these semi-annual state- 
ments are usually made four months after they 
are rendered, making an average date of seven 
months which the publisher takes upon his 
royalty account. On the face of it, this seems 



30 THE AUTHORS DESK BOOK 

too long a time, but those authors who are 
familiar with the customs of the trade realize 
that the publisher is obliged to sell to the 
jobbers and retailers on time, so that in this, 
as in other portions of the undertaking, they 
are simply sharing the financial necessities. 



THE COPYRIGHT 

1 HE matter of copyright is one which ad- 
mittedly requires thorough revision. No one 
seems able to explain why it is that in spite of 
conferences and delegations, congresses and 
discussions, the product of a man's brain is 
still at the mercy of regulations which even 
those in authority are unable to define. As a 
matter of fact, the copyright itself is merely 
a registration, which protects only in case the 
claimant of the copyright possesses the rights 
he claims. The Copyright Office does not 
undertake to pass upon his rights, leaving the 
question to the courts in case of dispute. It 
simply records his claims, and by this recording 
gives him certain rights provided his claims 
can be substantiated. The statements here 
made, therefore, cannot be taken as definitive, 
but are based upon information given out 
by the Copyright Office, and upon the usage 
of the best publishing-houses. 

When a publisher has accepted a manuscript, 
it becomes a part of his duty to secure the copy- 
right. Usually, this is taken out in the name 
of the publisher rather than of the author, as 
the contract itself is really a license tcf sell 
from the author to the publisher. It is also 
the duty of the publisher to take all necessary 



32 THE AUTHOR'S DESK BOOK 

steps to effect renewals of copyright as pro- 
vided for by law. 1 

For those who find it necessary to take out 
their own copyrights, the following information 
is of value: 

The copyright law provides that the applica- 
tion for registration of any work " shall specify 
to which of the following classes the work in 
which copyright is claimed belongs": 

(a) Books, including composite and cyclo- 
paedic works, directories, gazetteers, and other 
compilations. 

(b) Periodicals, newspapers. 

(c) Lectures, sermons, addresses, prepared 
for oral delivery. 

(d) Dramatic or dramatico-musical composi- 
tions. 

(e) Musical compositions. 
(/) Maps. 

(g) Works of art; models or designs for 
works of art. 

(h) Reproductions of a work of art. 

(i) Drawings or plastic works of a scientific 
or technical character. 

(j) Photographs. 

(k) Prints and pictorial illustrations. 

The Amendatory act, approved August 24, 
191 2, added the following two new classes of 
works as subject to copyright: 

(7) Motion-picture photoplays. 

(m) Motion pictures other than photoplays. 

1 See Contract Form, page 21, §4, 1. 



THECOPYRIGHT 33 

A work is not entitled to registration unless 
it is reasonably possible to classify it under 
one or the other of the above designations 
named in the statute. 

^Compilations, abridgments, adaptations, drama- 
tizations, translations or other versions of works pro- 
duced with the consent of the proprietor of such works, 
or works republished with new matter, are regarded 
as new works subject to copyright. 

An alien author or proprietor can be pro- 
tected by our law only in case he be domiciled 
within the United States at the time of the 
first publication of his work; or when the 
foreign state or nation of which he is a citizen 
or subject grants to citizens of the United 
States the benefit of copyright on substantially 
the same basis as to its own citizens; or when 
such foreign state or nation is a party to an 
international agreement which provides for 
reciprocity in the granting of copyright by 
the terms of which the United States may 
become a party thereto. 

TfCopyright protection is at present granted in the 
United States to works of authors who are citizens or 
subjects of the following countries: Belgium, France, 
Great Britain and her possessions, Switzerland, Ger- 
many, Italy, Denmark, Portugal, Spain, Mexico, Chile, 
Costa Rica, Netherlands and her possessions, Cuba, 
China, Norway, Japan (and Korea), Austria, Guate- 
mala, Salvador, Honduras, Nicaragua, Luxemburg, 
Sweden, Tunis and Hungary. 



34 THE AUTHOR'S DESK BOOK 

HOW TO SECURE COPYRIGHT REGISTRA- 
TION IN THE UNITED STATES 

For works reproduced in copies for sale: 

i. Publish the work with the copyright 
notice. The notice may be in the form 
"Copyright, 19 (year date of publica- 
tion) by (name of copyright pro- 
prietor)." * The date in the copyright notice 
should agree with the year date of publication. 

1 The notice of copyright must consist either of the 
word "Copyright" or the abbreviation "Copr." accom- 
panied by the name of the copyright proprietor, and 
if the work be a printed literary, musical, or dramatic 
work, the notice shall include also the year in which 
the copyright was secured by publication. In case, 
however, of copies of (/) Maps; (g) Works of art; 
models or designs for works of art; (h) Reproductions 
of a work of art; (i) Drawings or plastic works of a 
scientific or technical character; (j) Photographs; 
(k) Prints and pictorial illustrations, the notice may 
consist of the letter C inclosed within a circle, thus: ©, 
accompanied by the initials, monogram, mark or symbol 
of the copyright proprietor : Provided, that on some acces- 
sible portion of such copies or of the margin, back, per- 
manent base or pedestal, or of the substance on which 
such copies shall be mounted, his name shall appear. 

The notice of copyright must be applied in the case 
of a book or other printed publication, upon its title- 
page or the page immediately following [the back of 
the title-page], or if a periodical either upon the title- 
page or upon the first page of text of each separate 
number or under the title heading, or if a musical work 
either upon its title-page or the first page of music; but 
one notice of copyright in each volume or in each number 
of a newspaper or periodical published is sufficient. 



THECOPYRIGHT 35 

2. Promptly after publication, send to the 
Copyright Office two copies of the best edition 
of the work, with an application for registra- 
tion and a money-order payable to the Register 
of Copyrights for the statutory registration 
fee of $1.00. (As to special fee for registra- 
tion of photographs, see below.) The law 
provides " that of the printed book or periodi- 
cal the text shall be printed from type set 
within the limits of the United States, either 
by hand or by the aid of any kind of type- 
setting machine, or from plates made within 
the limits of the United States from type set 
therein, or, if the text be produced by litho- 
graphic process, or photo-engraving process, 
then by a process wholly performed within 
the limits of the United States." 

The law requires also that the postmaster 
to whom are delivered the articles to be de- 
posited in the Copyright Office shall, if re- 
quested, give a receipt therefor, and shall mail 
them to their destination without cosjt to the 
copyright claimant. 

In the case of books, the copies deposited 
must be accompanied by an affidavit, under the 
official seal of an officer authorized to ad- 
minister oaths, stating that the type-setting, 
printing, and binding of the book have been 
performed within the United States. Affidavit 
and application forms are supplied by the 
Copyright Office on request. This affidavit 
is not required in the case of works in raised 



36 THE AUTHOR'S DESK BOOK 

characters for the use of the blind, or in the 
case of a book of foreign origin in a language 
or languages other than English, or in the case 
of a printed play in any language; as such 
works are not required to be manufactured 
in the United States. 

In the case of contributions to periodicals, 
send one complete copy of the periodical con- 
taining the contribution with application and 
fee. No affidavit is required. 1 

For works not reproduced in copies for sale : 

Copyright may also be had of certain classes 
of works (see a-e below) of which copies are 
not reproduced for sale, by filing in the Copy- 
right Office an application for registration with 
the statutory fee of $1.00, sending therewith: 

(a) In the case of lectures or other oral 
addresses, or of dramatic or musical composi- 
tions, one complete manuscript or typewritten 
copy of the work. 

(b) In the case of photographs not intended 
for general circulation, one photographic print. 
(As to special fee, see next page.) 

(c) In the case of works of art (paintings, 
drawings, sculpture), or of drawings or plastic 
works of a scientific or technical character, one 
photograph or other identifying reproduction 
of the work. 



1 See page 3% for advice about procedure in case of 
periodicals themselves. 



THECOPYRIGHT 37 

(d) In the case of motion-picture photo- 
plays, a title and description, with one print 
taken from each scene or act. 

(e) In the case of motion-pictures other than 
photoplays, a title and description, with not 
less than two prints taken from different 
sections of a complete motion-picture. 

In the case of each of the works above noted, 
not reproduced in copies for sale, the law 
expressly requires that a second deposit of 
printed copies for registration and the pay- 
ment of a second fee must be made upon 
publication. 

Fees: 

The statutory fee for registration of any 
work, except a photograph, is $1.00, including 
a certificate of registration under seal. In 
the case of a photograph, if a certificate is not 
demanded, the fee is fifty cents. In the case 
of several volumes of the same book deposited 
at the same time, only one registration and 
one fee is required. 

HOW TO SECURE COPYRIGHT REGISTRA- 
TION OF PERIODICALS 

1. Publish the issue upon which copyright 
protection is desired, printing therein the re- 
quired copyright notice, before making any 
application to the Copyright Office for regis- 
tration. (As to the form and position of the 
notice, see page 34.) 



38 THE AUTHO r's DESK BOOK 

2. Promptly after the publication of each 
issue, send two copies thereof to the Copyright 
Office, Washington, D.C., with an application 
for registration (upon Form "Bi ") and a re- 
mittance for the statutory fee of $1.00, which 
sum includes the cost of a certificate under 
seal. Such certificate "shall be admitted in 
any court as prima facie evidence of the 
facts stated therein. " 

^Publishers who desire to avoid the trouble of filling 
out a separate application form, and of making a sepa- 
rate remittance for each issue, may send in advance a 
sum to be placed to their credit, accompanied by a 
general application (upon Form " B2 "), requesting regis- 
trations to be made thereafter upon the prompt deposit 
in the Copyright Office of the copies of the success- 
ive issues, from time to time, as they are published. 
After this has been done, two copies of each issue 
should be mailed to the Copyright Office promptly after 
publication, with a slip (supplied in blank by the Copy- 
right Office) giving the exact date of publication of the 
issue (i.e. "the earliest date when copies of the first 
authorized edition were placed on sale, or sold, or 
publicly distributed by the proprietor of the copyright 
or under his authority"). 

The statutory fee for the registration of any 
one issue of a periodical is one dollar, including 
a certificate under seal as already explained. 
Non-certificate, fifty-cent, entries are not per- 
missible under the present law. Each issue 
of a copyright periodical requires the pay- 
ment of its own registration fee of one 
dollar. 



THECOPYRIGHT 39 

Contributions to periodicals: 

Section 3 of the new law provides "that the 
copyright provided by this Act shall protect 
all the copyrightable component parts of the 
work copyrighted, and all matter therein in 
which copyright is already subsisting, but 
without extending the duration or scope of 
such copyright. The copyright upon compo- 
site works or periodicals shall give to the pro- 
prietor thereof all the rights in respect thereto 
which he would have if each part were indi- 
vidually copyrighted under this Act." For 
regulations regarding contributions to period- 
icals see page 36. 

Titles : 

The general title of a newspaper, magazine, 
or other periodical cannot be recorded under 
the copyright law. The requirement of the 
former law, that a printed title be deposited 
on or before the day of publication, has been 
abrogated, and the deposit of the title 'in ad- 
vance of publication is no longer authorized. 
What the law now requires is that there be 
deposited two complete copies of each issue, 
promptly after publication. 

Remittances: 

All remittances to the Copyright Office 
should be made by money-order, payable to 
the Register of Copyrights. No money (cur- 



40 THE AUTHORS DESK BOOK 

rency or coin) should be placed in any letter 
or other matter sent to the Copyright Office. 
Postage stamps should not be sent as fees. 
Private checks will not be accepted unless 
certified. 

HOW TO SECURE COPYRIGHT REGISTRATION 
OF MOTION-PICTURES 

In order to secure registration of claims to 
copyright for such works the following steps 
should be taken: 

Motion-picture photoplays : 

I. Motion-picture photoplays not reproduced in 
copies for sale: Deposit in the Copyright Office, 
Washington, D.C., (i) the title of the motion- 
picture photoplay; (2) a description of the 
work, preferably either printed or typewritten; 
(3) a photograph taken from each scene of 
every act. These deposits should be accom- 
panied by an application for recording the 
claim to copyright. For this purpose use 
Application Form "L 2," which is furnished 
by the Copyright Office upon request. Also 
send with the application the statutory regis- 
tration fee of $1.00. 

II. Motion-picture photoplays reproduced in copies 
for sale: When the motion-picture photo- 
play has been published (i.e., placed on sale, 
sold, or publicly distributed) with the required 
notice of copyright upon each copy, promptly 



THECOPYRIGHT 41 

after such publication deposit in the Copy- 
right Office two complete copies of the work, 
accompanied by an application for record- 
ing the claim to copyright in the published 
work. For this purpose use Application Form 
"L i," which is furnished by the Copyright 
Office upon request. Also send with the appli- 
cation the statutory registration fee of $1.00. 

Motion-pictures other than photoplays: 

I. Motion-pictures other than photoplays not repro- 
duced in copies for sale: Deposit in the Copy- 
right Office, Washington, D.C., (1) the title 
of the motion-picture; (2) a description of 
the work, preferably either printed or type- 
written; (3) two or more photographs taken 
from different sections of the complete motion- 
picture. These deposits should be accom- 
panied by an application for recording the 
claim to copyright. For this purpose use 
Application Form U M 2," which is furnished 
by the Copyright Office upon request. Also 
send with the application the statutory fee 
of $1.00. 

II. Motion-pictures other than photoplays repro- 
duced in copies for sale: When the work has 
been published (i.e., placed on sale, sold, or 
publicly distributed) with the required no- 
tice of copyright upon each copy, promptly 
after such publication deposit in the Copy- 
right Office two complete copies of the work, 
accompanied by an application for recording 



42 THE AUTHORS DESK BOOK 

the claim to copyright in the published work. 
For this purpose use Application Form "M i," 
which is furnished by the Copyright Office 
upon request. Also send with the application 
the statutory fee of $1.00. 

In all cases, the money order remitting the 
registration fee should be made payable to 
the " Register of Copyrights." Send the title, 
description, prints, copies, application and fee in 
one parcel, addressed to the Register of Copy- 
rights, Washington, D.C. 

If any motion-picture has been registered 
as a work "not reproduced in copies for sale," 
it must nevertheless be registered a second 
time if it has been afterward published. 

AD INTERIM PROTECTION 

In the case of a book published abroad in 
the English language before publication in 
the United States, the deposit in the Copyright 
Office at Washington, not later than thirty 
days after its publication abroad, of one com- 
plete copy of the foreign edition, with a request 
for the reservation of the copyright, and a 
statement of the name and nationality of the 
author and of the copyright proprietor, and 
of the date of the publication of the book, 
secures to the author or proprietor an ad 
interim copyright, which has all the force and 
effect given by copyright, and extends until 
the expiration of thirty days after such 
deposit in the Copyright Office. W T henever, 



THE COPYRIGHT 43 

within the period of this ad interim publica- 
tion, an authorized edition of the book is pub- 
lished within the United States in accordance 
with the manufacturing provisions specified 
in the American copyright law, and when the 
provisions of the American law as to deposit 
of copies, registration, filing of affidavit, and 
the printing of the copyright notice have been 
duly complied with, the protection is then 
extended over the full term. 



ASSIGNMENT OF COPYRIGHT 

A copyright may be assigned, granted, or 
mortgaged by an instrument in writing signed 
by the proprietor of the copyright. No special 
blank form for assignment is issued by the 
Copyright Office. 

Recording assignments: 

Every assignment of copyright should be 
recorded in the Copyright Office within three 
calendar months after its execution in the 
United States, or within six calendar months 
after its execution without the limits of the 
United States, "in default of which it shall 
be void as against any subsequent purchaser or 
mortgagee for a valuable consideration, with- 
out notice, whose assignment has been duly 
recorded." 

The original instrument of assignment should 
be sent to the Copyright Office to be placed 



44 THE AUTHO r's DESK BOOK 

on record. A valuable document of this kind 
should be forwarded by registered post. 

After having been recorded, a certificate of 
record under seal of the Copyright Office is 
attached, and it is then returned by post. If 
the sender desires to have it returned by regis- 
tered post, ten cents postage for the post- 
office registry fee should be sent in addition 
to the recording fees as stated below. 

Notice in assignee's name : 

When an assignment of the copyright in a 
specified book or other work has been recorded, 
the assignee may substitute his name for that 
of the assignor in the copyright notice. In 
order that this transfer of proprietorship may 
properly appear upon the index of the Copy- 
right Office, a fee of ten cents (prescribed by 
law) for each title of a book or other article 
transferred is required for indexing, and this 
fee should be remitted in addition to the fee 
prescribed for recording the instrument as 
explained below. 

Foreign assignments : 

Every assignment of copyright executed in 
a foreign country must be acknowledged by 
the assignor before a consular officer or secre- 
tary of legation of the United States, authorized 
by law to administer oaths or perform notarial 
acts. The certificate of such acknowledgment 
under the hand and official seal of such con- 



THECOPYRIGHT 45 

sular officer or secretary of legation is prima 
facie evidence of the execution of the instru- 
ment. 

FEES 

The following schedule of fees, in addition to 
those already given, is fixed by the statute: 

1. For recording and certifying any instru- 
ment in writing for the assignment of copy- 
right, or any license to make use of copyright 
material, or for any copy of such assignment or 
license, duly certified, if not over three hundred 
words in length, one dollar; if more than three 
hundred and less than one thousand words 
in length, two dollars; if more than one 
thousand words in length, one dollar addi- 
tional for each additional one thousand words 
or fraction thereof over three hundred words. 

2. For comparing any copy of an assign- 
ment with the record of such document in the 
Copyright Office and certifying the same under 
seal, one dollar. 

3. For recording the transfer of the 'proprie- 
torship of copyrighted articles, ten cents for 
each title of a book or other article, in addi- 
tion to the fee prescribed for recording the 
instrument of assignment. 

THE DURATION OF COPYRIGHT 

The duration of the term of copyright is 
twenty-eight years. This term may be ex- 
tended for a further term of twenty-eight 



46 THE AUTHOR'S DESK BOOK 

years by the author of the work, if living, or 
by the widow, widower, or children, or, if 
they be not living, then by the author's execu- 
tors, or in absence of a will, by his next of kin. 
^Application for this extension must be made to the 
Copyright Office and duly registered there within one 
year prior to the expiration of the original term. 

THE PROTECTION OF TITLES 

The cases which have thus far been settled 
in litigation indicate that there is nothing at 
present in the copyright law which gives to 
the author the exclusive right to the title of 
his particular work. There may be any num- 
ber of books or stories brought out by different 
authors bearing the same title so long as each 
one is distinct and original. 

APPLICATION FORMS 

Applicants for copyright registration should 
use the application forms furnished on re- 
quest by the Copyright Office. A separate 
form should be used for each work to be 
entered. 

Books : For any new book printed and pub- 
lished for the first time in the United States, 
use Application Form and Affidavit Form 
"A i" if the book is to be printed from type 
or plates made from type; if it is to be 
produced by lithographic or photo-engraving 
process use Application Form and Affidavit 
Form "A 2." 



THECOPYRIGHT 47 

For a book reprinted in the United States, 
with new copyright matter, use Application 
Form "A 2." * 

For a book of foreign origin in a language or 
languages other than English, use Applica- 
tion Form "A 3." 

For ad interim copyright in a book published 
abroad in the English language, use Applica- 
tion Form "A 4." 

For the American edition of a book in the 
English language on which ad interim copyright 
has been previously secured, use Application 
Form and Affidavit Form "A 1." 

For a contribution to a newspaper or period- 
ical, use Application Form "A 5." 

Periodicals: For a periodical, if it is desired 
to make a separate application and remittance 
as each issue appears, use Application Form 
"Bi," If it is desired to file a general appli- 
cation in advance, and to deposit therewith a 
sum to cover the fees for several issues, use 
Application Form "B 2." 

Oral Works: For a Lecture, Sermon, or Ad- 
dress for oral delivery, use Application Form 

Dramas : For a published Dramatic Composi- 
tion, use Application Form U D 1." 

For a Dramatic Composition of which copies 
are not reproduced for sale, use Application 
Form "D 2." 

For a published Dramatico-Musical Composi- 
tion, use Application Form "D 3." 



48 THE AUTHOR'S DESK BOOK 

Music : For a Musical Composition published 
for the first time, use Application Form "E." 

For a Musical Composition, republished with 
new copyright matter, use Application Form 
"E i." 

For a Musical Composition of which copies 
are not reproduced for sale, use Application 
Form U E 2." 

Maps: For a published map, use Applica- 
tion Form "F." 

Works of Art: For a Work of Art (Painting, 
Drawing, or Sculpture) ; or for Model or Design 
for a Work of Art, use Application Form " G." 

Drawing or Plastic Work: For a published 
Drawing or Plastic Work of a scientific or tech- 
nical character, use Application Form "I 1." 

For an unpublished Drawing or Plastic 
Work of a scientific or technical character, use 
Application Form "I 2." 

Photographs : For a Photograph published 
for sale, use Application Form "J 1." 

For a Photograph of which copies are not 
reproduced for sale, use Application Form 

"J 2" 

Prints or Pictorial Illustrations: For tfye 
registration of any " Print" or " Pictorial Illus- 
tration," which is a printed picture, complete 
in itself and having artistic quality, use Appli- 
cation Form U K." 

Motion- Pictures : For the registration of a 
Motion-Picture Photoplay reproduced in copies 
for sale, use Application Form "L 1." 



THECOPYRIGHT 49 

For a Motion-Picture Photoplay of which 
copies are not reproduced for sale, use Appli- 
cation Form U L 2." 

For a Motion-Picture, not a Photoplay, re- 
produced in copies for sale, use Application 
Form "M 1." 

For a Motion-Picture, not a Photoplay, not 
reproduced in copies for sale, use Application 
Form "M 2." 

Renewal or extension : 

For the renewal of copyright subsisting in 
any work for the new renewal term of twenty- 
eight years as provided by the present law, use 
Renewal Form "R 1." 

For the extension of an existing renewal term 
from fourteen years as provided under the old 
law, to twenty-eight years granted by the 
present law, use Extension Form U R 2." 

TfThese renewal forms can only be used within 
a period of one year prior to the expiration of the 
existing term. 

Assignments : 

No forms are issued by the Copyright Office 
for assignments, or licenses, nor for Post- 
master's receipts for articles deposited. 

PRACTICAL PROCEDURE 

The methods of each publisher in the various 
steps toward registration of copyright may 
vary in details, but the following method may 



50 THE AUTHORS DESK BOOK 

be taken as typical and sufficient for the aver- 
age American book copyrighted in the United 
States: 

i. The type must be set up in the United 
States, and, if the book is printed from plates, 
the plates be made therefrom; 

2. The book must be printed and bound in 
the United States; 

3. The book must bear the copyright notice. 

4. On the date set for publication, copies 
are for the first time offered to the public, 
sold or publicly distributed by the publisher 
or his authorized agents. This constitutes the 
"act of publication," on which the registration 
of copyright depends. The sale of these copies 
is recorded on the publisher's books in the 
same manner as the sale of any of his books, 
and this dating of the sale on his books is often 
deemed sufficient record of the first publication. 
In case books are to be distributed for sale by 
various booksellers as well as by the publisher 
himself, the booksellers must be notified in ad- 
vance in order that no copies may be sold 
previous to the date set for first publication. 

5. Either on the same day as the book is 
first published or promptly thereafter (but 
not before), blank Application and Affidavit 
Form "A 1" is filled out and sworn to. 1 Two 



1 On the following page is given a reduced facsimile 
of both sides of the Application Blank filled out ready 
to be sworn to. 



THE COPYRIGHT 



■li ■■ 



41 









J.- 



a 






51 



;-« ■ 



31 



Qj< 






J4 *a 1 









52 THE AUTHOR'S DESK BOOK 

copies of the book for deposit with the Copy- 
right Office, together with this completed 
Application Form and a post-office money- 
order for the required fee of $1.00 made pay- 
able to the Register of Copyrights, are made 
up into one package, and the package addressed 
to: The Register of Copyrights, Washington, 
D.C. On the outside of the package is 
marked: "Books for Copyright Registration." 
The package is then delivered to the post-office, 
and the postmaster, if requested, will sign a 
receipt for the package which the publisher 
makes out. This receipt should contain the 
name of the book, the date, and the fact that 
the copies are to be transmitted to the Register 
of Copyrights in Washington for purpose of 
registration of copyright. The postmaster is 
required by law to forward these copies to the 
Copyright Office without expense to the sender. 

6. After a few days a receipt under seal will 
come from the Copyright Office, certifying 
that the books have been received, with the 
remittance and application, and that the copy- 
right has been duly recorded. 

This is all that needs to be done for twenty- 
seven years, in case the copyright has not in 
the meantime been assigned. In case of as- 
signment this fact should be recorded in the 
Copyright Office in accord with the methods 
specified. 1 



1 See page 43. 



THECOPYRIGHT 53 

After twenty-seven years have passed, and 
within one year of the expiration of the copy- 
right, the owner may renew it for twenty-eight 
years more upon application to the Copyright 
Office. 

INTERNATIONAL COPYRIGHT 

In America, with the general lack of definite 
knowledge concerning all matters relating to 
copyright, the so-called " International Copy- 
right'' is equally shrouded in uncertainty. 
As the United States is not yet a member of 
the International Copyright Union as estab- 
lished in the convention of Berne, and cannot 
join this Union so long as the present clause in 
the American copyright law exists requiring 
all books to be completely manufactured within 
the United States in order to secure copyright, 
it will be evident that registration at Wash- 
ington does not secure protection abroad. 
Mutual copyright protection has been arranged, 
however, by special treaties with foreign 
nations. The countries with which these 
treaty relations exist at present include: Bel- 
gium, France, Great Britain and her posses- 
sions, Switzerland, Germany, Italy, Denmark, 
Portugal, Spain, Mexico, Chile, Costa Rica, 
Netherlands and her possessions, Cuba, China, 
Norway, Japan (and Korea), Austria, Guate- 
mala, Salvador, Honduras, Nicaragua, Luxem- 
burg, Sweden, Tunis and Hungary. Inasmuch 
as we are not yet members of the International 



54 THE AUTHO r's DESK BOOK 

Copyright Union it is, strictly speaking, im- 
possible for a citizen of the United States to 
secure " International Copyright" on his book, 
though a book can be protected in most of the 
countries where protection is desirable. 1 Many 
publishers secure copyright in Great Britain 
and her dependencies by publishing in England 
simultaneously with the American publica- 
tion, and by conforming to the other require- 
ments of the British law. A few publishers 
are of the opinion that protection in Great 
Britain and her colonies can be secured by 
publishing simultaneously in Canada instead 
of in England. Whether or not this is equally 
binding cannot be definitely determined, as 
no test case has as yet been made to establish 
or dispute the fact. 

Recent copyright legislation in England has 
been pointed in the direction of more strict 
regulations regarding bona fide publication in 
England of American books on which English 
copyright is desired. This is a step in the 
right direction, and defines the issue somewhat 
more clearly, but even now conditions are not 
as well defined as they should be, or as they 
must ultimately be. The following statements 
may be made: 

(a) Simultaneous publication is necessary in 
England and the United States. The English 

1 No special registration beyond that to secure the 
American and the English copyright is required in coun- 
tries with whom the United States has copyright treaties. 



THECOPYRIGHT 55 

agents, therefore, should be supplied with not less 
than seven copies of the book at least one week 
before the date fixed for American publication. 

TfGreat care should be taken that the date selected 
for publication is not Saturday, Sunday or a public 
holiday in England. These public holidays are: Easter 
Monday, Monday in Whitsun-week, first Monday in 
August, December 26 (or, if Sunday, December 27), 
Good Friday and Christmas Day. 

In Canada the public holidays are: New Year's, 
Good Friday, Easter Monday, Empire Day (May 24), 
Dominion Day (July 1), first Mondays in August and 
September (Labor Day), Thanksgiving and Christmas 
Day. 

The publication is accepted in England as 
being simultaneous if the time between pub- 
lication in England and in America does not 
exceed fourteen days. It is important to note 
that when the case is reversed the " simulta- 
neous" publication of an American book in 
England must be made on the exact day of its 
publication in America. 

(b) The so-called English agent must be an 
English publisher. On the day appointed for 
publication, the English agent must make 
formal sale of at least one copy of the volume, 
and the entry of such sale must appear upon 
his books. Six copies are delivered by the 
agent to the following libraries: 

British Museum 
Bodleian Library, Oxford 
University Library, Cambridge 



56 THE AUTHOR'S DESK BOOK 

Library of the Faculty of Advocates, Edinburgh 
Library of Trinity College, Dublin 
National Library of Wales 

Iflt is not obligatory that five of these six copies be 
delivered unless demand is formally made within twelve 
months after publication, but if the books are not in 
stock for delivery then the agent may be fined £5 plus 
the cost of the volume. The copy for the British 
Museum must be delivered within one month after 
publication. 

If an edition de luxe is issued, the copy sent to the 
British Museum must be of this edition. 

Points which are still to be settled in the 
new English copyright law are, whether or 
not, in order to make a bona fide publication, 
copies should be sent out for review, and 
advertised or offered for sale by the travel- 
ing salesmen of the English publisher. It is 
probable that these points will be definitely 
determined within the next few months. The 
English act requires a genuine publication to 
satisfy public demand, and not merely a " col- 
ourable" formality. What "public demand" 
may be has not yet been defined. 

There is no necessity for printing any notice 
of English copyright, as the English law does 
not require it; but it is customary, on Ameri- 
can books copyrighted in England, to use the 
words, " Copyright in England," to give warn- 
ing that copyright is claimed on the book. 
It is not considered necessary to have the 
English publisher's imprint on the title-page 
of such books. 



THECOPYRIGHT 57 

The expression sometimes seen on the copy- 
right page, "All rights reserved including that 
of translation into foreign languages includ- 
ing the Scandinavian," is now valueless. The 
American and English copyrights protect the 
book in all countries with which the United 
States has copyright relations, and the notice 
would not prevent appropriation in any coun- 
try with which the United States has no copy- 
right relations. The expression came into use 
during the years preceding our present recipro- 
cal copyright arrangements, and is now dis- 
continued by those familiar with its original 
significance. 



RELATIONS OF THE SHORT-STORY 
WRITER TO THE MAGAZINES 

1 HE contributor to the magazines stands in 
a relation entirely different from that of the 
novelist to his publisher. In this case, the 
author has no joint interest with the pub- 
lisher, being but one of many contributors to 
the magazine as a whole. In an article in 
their "Bulletin," the Authors' League refers 
to these dealings as follows: 

"In his relations with the magazine publisher, the 
short-story writer may be considered either as an 
independent merchant, peddling his wares, or as an 
employee, — on the same plane with the ink-dealer 
and the paper-house, say, or on the same plane with the 
sub-editor and the cashier. The magazine publisher, 
for selfish reasons, generally prefers to consider him 
as a merchant. Your committee, for reasons equally 
selfish but perhaps better founded, considers him rather 
in the light of an employee. First, and most impor- 
tantly, the ink-dealer and the paper-house have capital; 
the magazine writer brings nothing to his business but 
his brain and his two hands. In the second place, a 
great deal of the writing for our periodicals is done by 
men and women employed on salary, and economically 
in the same category as the cashier or the sub-editor. 
The man or woman who writes 'on the outside/ either 
on speculation or on order, it seems to us, is no less a 
temporary employee of the magazine. 

"This consideration enters into the first grievance 



THE SHORT-STORY WRITER 59 

which has been urged by many of our members against 
certain of our magazines, — the deferring of payments 
after the acceptance of the article or story. As every 
one knows, the custom of our leading periodicals varies 
greatly in this regard. Some pay upon acceptance, 
not nominally but really. Certain others pay within 
the month. Still others pay just about when the author 
can get it. The staff writer receives his regular salary 
every week; the free-lance writer, working on order, 
temporarily just as much a part of the magazine staff 
as any regular employee, often has to wait for weeks and 
months. Certain of the magazine publishers inter- 
viewed by your committee have their ready-made 
answer to this: 'The ink maker and the paper manu- 
facturer give us time: they wait one, two, or three 
months for their money; why should we be any more 
prompt with the author? ' This position, on the theory 
that the magazine writer is only an outside employee, 
is of course untenable. " 

COPYRIGHT 

From the same source comes most valuable 
comment regarding the importance of a fuller 
knowledge on the part of the short-story writer 
of the exact bearing of the copyright law upon his 
work, being the statements upon recent opinions 
handed down as a result of litigation. Briefly, 
these opinions are to the effect that a magazine 
copyright covers the matter contained in each 
number only to the extent to which such matter 
is the property of the magazine. It therefore 
follows that in the case of a story, of which 
only the magazine rights have been sold by 
the author, the magazine copyright leaves him 
absolutely unprotected in his dramatic and, the- 



60 THE AUTHOR'S DESK BOOK. 

oretically at least, in his book rights. To save 
whatever he reserves, he must take copyright, 
also, in his own name, fulfilling the necessary 
formalities, such as paying a separate fee, de- 
positing two copies of the book in the Library 
of Congress, and seeing that his notice of copy- 
right appears upon the story when published 
in the magazine. 1 The attorney for the 
Authors' League advises as follows: 

"So long as this and similar matters remain in doubt, 
both authors and publishers should, for their own 
protection, agree on some system whereby the dra- 
matic and all other rights are thoroughly safeguarded. 
This can be accomplished in either of two ways: 

" (a) The editor can copyright each story or article 
separately in the author's name, printing at the bot- 
tom of the first page thereof a proper copyright notice, 
as follows: 

' Copyright, 19 13, by John Doe' 
The author should then, immediately on publication, 
mail one copy of the magazine to the Register of 
Copyrights in Washington, in conformity with the 
requirements of the present Act, enclosing the fee of 
One Dollar. This is perhaps the simplest way, al- 
though it involves a separate registration of the maga- 
zine for each story or article so copyrighted. 

"(b) Or the author can sell his story outright to 
the editor or publisher, and safely reserve his equitable 
interests in the dramatic or other rights thereto by 
attaching to his manuscript a 'rider' or slip somewhat 
as follows: 

'"This manuscript is submitted with the under- 
standing that, if accepted for publication, the same 
shall be copyrighted by the publishers, and all rights 



1 See page 34. 



THE SHORT-STORY WRITER 6l 

under said copyright (except that of magazine pub- 
lication) shall be held in trust for the benefit of the 
writer or his assigns, and will be reassigned to him upon 
demand.' " 

PRACTICAL SUGGESTIONS 

The general advice under " Submitting the 
Manuscript'' * applies with added force to the 
manuscripts of short stories, as the number 
of such manuscripts submitted to editors is 
naturally greater than in the case of novels 
and publishers. In a word, make the reading 
of your story as attractive and as easy for the 
editor as possible. In addition, these points 
are of importance in submitting manuscripts 
of short stories: 

Use double space in typewriting. 

Be sure that your typewriting machine is in 
good order. Typewritten manuscript possesses 
an individuality as well as hand-script, and 
inaccurate or slovenly pages prejudice the 
reader. 

Always enclose a stamped, addressed en- 
velope, and be sure that the postage is not 
underpaid. Manuscript copy costs two cents 
an ounce; when mailed with proof, it costs 
one-half cent an ounce. 

Write your name and address in the upper, 
left-hand corner of the first page; in the up- 
per, right-hand corner write the approximate 
number of words. 2 



1 See page 10. 

2 For estimating, see page 69. 



62 THE AUTHO r's DESK BOOK 

A short story is usually supposed to contain 
from 3000 to 6000 words. 

Number your pages consecutively. 

The manuscript may be folded, not more than 
twice, but should never be rolled. 

DEALINGS WITH THE EDITOR 

The letter accompanying the manuscript 
should be brief, business-like, and to the point. 
The editor is too busy to concern himself 
with anything in connection with the writer 
or the story except the story itself. 

Don't call upon the editor, or send him a 
letter of introduction; let the merit of your 
story be your only sponsor. 

Don't ask the editor to criticize your work; 
place the manuscript in the hands of a pro- 
fessional reader if that is what you desire. 

Be patient. It is reasonable to expect a 
decision upon your manuscript within three 
months' time, but not sooner. 

Don't be offended by the receipt of a printed 
rejection slip. Personal letters are not to be 
expected. 

Accept the editor's judgment cheerfully. 
Nothing is ever gained, and much is usually 
lost, by personal pique. 

Study the spirit and policy which lie behind 
each publication. Just as a merchant offers 
his wares only in the market where the demand 
exists, make sure in your own mind that your 
story fits the magazine to which you send it. 



THE SHORT-STORY WRITER 63 

Look upon the return of a manuscript as an 
opportunity for revision and improvement 
before sending it out again. Study it, and try 
yourself to discover why it did not succeed. 

Keep a careful record of the peregrinations 
of your various manuscripts. 

Be timely, remembering that "seasonable" 
stories should be received by the magazines 
four to six months before the season arrives. 

The best magazines have a regular rate of 
payment, so it is needless to discuss terms in 
submitting your manuscript. 

Never give a story away. If it is worth 
publishing it is worth being paid for, and to 
part with it for nothing injures the literary 
market for your fellow-writers as well as for 
yourself. 

There is much difference of opinion regarding 
the ethics of submitting the same manuscript 
to more than one magazine at a time. In 
this matter each writer must settle the question 
for himself. There is no general custom, but 
good taste would seem to argue against the 
practice* 

It is seldom wise to submit more than one 
story at a time to the same magazine. 

THE LITERARY AGENT 

Enlarging upon what has been said in an 
earlier chapter, 1 the literary agent may be 



1 See page 4. 



64 THE AUTHOR'S DESK BOOK 

found much more useful in the marketing of 
short stories than in novels. The relations of 
the author to the publisher are much closer 
than those existing between the short-story 
writer and the magazine editor, and the per- 
sonality of the author is a less important 
factor. If the writer of short-stories makes a 
study of the market, and possesses ordinary 
business ability, he has no more occasion for 
an " agent'' than a man engaged in any other 
profession. On the other hand, it is a fact 
that the average writer does not develop 
himself along these lines, so that the advice 
and co-operation of one who makes a business 
of acting as a go-between can be made ex- 
ceedingly valuable. 

In placing oneself in the hands of a literary 
agent, great care should be exercised to select 
one with a reputation for the successful plac- 
ing of manuscripts and for prompt financial 
dealings. 

The ordinary commission of the literary 
agent is 10 per cent, upon all sums received on 
account of the author, and it is customary for 
him to handle the financial as well as the 
literary relations between the writer and the 
magazines. 



THE MECHANICS OF THE BOOK 

kOOME authors have a general idea of how a 
book is manufactured, but more have none. 
Even in the case of experienced writers, every 
printing-office could tell surprising stories to 
illustrate the unreasonableness born of a lack 
of knowledge of the ordinary mechanics of 
manufacture, or of a confidence born of too 
little knowledge. And unreasonableness on 
the part of the author means extra and un- 
necessary expense either to the printer or to 
the publisher. One of the most unfortunate 
features of the publishing business is that the 
exact cost of manufacturing a book can rarely 
be estimated in advance: typography, electro- 
typing, engraving, designing, presswork, paper, 
and binding can be figured closely, but the 
"extras," resulting from the author's careless- 
ness, lack of knowledge of the book's me- 
chanics, or change of heart as the manuscript 
goes into type, in many cases so increase the 
cost beyond the publisher's expectations that 
the publication can only show a loss instead of 
a profit. 

These "extras" result from different causes: 
the manuscript may be carelessly prepared, 
with poor punctuation and clumsy expressions, 



66 THE AUTHO r's DESK BOOK 

which the author corrects in the proof. The 
author frequently boasts, "I know nothing 
about punctuation/' but would an artist admit 
that he was ignorant of how to mix his colors? 
There is no question that authors sometimes 
take advantage of their " temperament/ ' and 
lie down upon it in a manner most unfair to 
their co-partners in the enterprise. 

Changes in the manuscript cost nothing, 
changes in the type cost one dollar per hour. 
To correct vital points after the book is in 
type is warranted; to correct blunders in 
punctuation or expression is needless expense, 
and is a reflection upon the intelligence of the 
author. Genius may be erratic, but it is more 
respected when it is not made to carry the 
responsibility of ordinary carelessness or igno- 
rance. The writer recalls a case where the 
author of a story changed the name of one of 
the characters after the book was in type; 
it cost the publishers over eighty dollars. 
Frequently an author changes the name of 
his story, necessitating resetting the running- 
heads, the title-page, and recutting the brass 
dies, all of which adds expense beyond the 
publisher's original estimate. Countless other 
examples might be cited, but the main point 
is that all vital details should be discussed and 
settled while the story is still in manuscript, 
and after it has been placed in the printer's 
hands further changes should be only those 
which are of serious moment. 



MECHANICS OF THE BOOK 67 

Other " extra" expenses include the cost of 
proofs. The publisher usually receives from the 
printer two sets of galley-proof, two sets of 
page-proof, and two sets of foundry-proof. 
All proofs beyond these six sets are charged 
for as "extra," the usual rate being one cent 
per page. 

If the author retains his proof longer than is 
necessary to read and correct it, this delay 
frequently forces the printer to work over-time 
to meet publication-day; this over-time work 
is charged for at double price. 

An author would never have any difficulty 
in securing a letter of introduction from his 
publisher to some large printing-house, and the 
printer would gladly give him every opportu- 
nity to familiarize himself with the mechani- 
cal processes. This knowledge, together with 
a study of those elements which go into the 
manufacture of a book, would enable the 
author to avoid needless cost, or to incur 
intelligently such extra expense as became 
vitally necessary. 

The following suggestions are important 
regarding the relations between the author and 
the printer: 

It is always wiser to leave all questions of 
typography for the publisher to settle with the 
printer, unless there is some specific reason 
why the author wishes to accomplish a particu- 
lar result by using certain type effects. 

Copy should be typewritten, and revised 



68 the author's desk book 

carefully by the author, before sending it to 
the printer, to correct typewriter's errors. 
Interlineations and erasures which make the 
reading difficult should be avoided. It is 
always a simple matter to rewrite such portions 
without rewriting the entire chapter. 

If the author has decided preferences regard- 
ing spelling or punctuation, this fact should 
be clearly stated on the manuscript; other- 
wise the printer follows his office style, which 
may or may not conform with the author's 
ideas. 

In the preparation of copy, consistency of 
spelling and punctuation is strongly urged, 
as it not only simplifies the problem for the 
printer, but also prevents possible misunder- 
standing of copy and consequent necessity for 
resetting. 

All paragraphs should be clearly indicated 
in the copy. 

All directions written upon the manuscript, 
which are not intended as "copy," should be 
enclosed in a circle. 

The author should punctuate each sentence 
as he writes it, for in this way the marks are 
indicative of the natural pauses, and better 
express his meaning. 

Foot-notes should always be clearly indi- 
cated. 

Unusual words, proper names, and figures 
should be written out with the greatest care 
and distinctness by the author. 



MECHANICS OF THE BOOK 69 

It is for the common advantage of the author, 
the publisher, and the printer that the author 
or the editor read all proofs promptly. 

ESTIMATING THE MANUSCRIPT 

The usual procedure in making a book is 
as follows: When the publisher sends the 
manuscript to the printer, a request goes with 
it for a sample page, set to a size and in a type 
which will make a volume of the desired num- 
ber of pages. A novel is supposed to run from 
320 pages to 400 pages. The first thing to be 
done is to estimate the number of words in 
the manuscript, and this is accomplished by 
averaging the number of words in say thirty 
lines, and then multiplying by the number of 
lines on a page. No allowance is made for 
fractional lines, as these also occur in the 
printed page. If the manuscript is carefully 
written, each page will contain the same num- 
ber of lines, so the total number of words may 
be found by multiplying the number of words 
on the page, as arrived at above, by the total 
number of pages in the manuscript. This 
explains the importance of having a standard 
number of lines on each page. 1 No allowance 
is made for fractional pages at the end of chap- 
ters, as there are also fractional pages in the 
printed book, and it averages up. 

The front matter has to be estimated sepa- 
rately, with allowance for the blanks on the 

1 See page 10. 



70 THE AUTHO r's DESK BOOK 

reverse of bastard- title, dedication, etc., 1 but 
the usual number of pages is eight. Then, 
again, an allowance of half a page for each 
chapter sinkage 2 has to be made. Suppose 
we have a manuscript of 90,000 words, with 24 
chapters: A type page of 280 words gives us 
322 pages, to which we add 8 pages for front 
and 12 pages for chapter sinkages, giving us a 
volume of about 344 pages. As the presswork 
is usually done in forms of 32 pages, an effort is 
always made not to exceed even forms by a small 
number of pages. Striking out the bastard-title 
will often save a form of press-work. 

Various short-cuts have been suggested for 
estimating the number of words in a printed 
page, but the old-fashioned method of counting 
is the safest. Here is a table which is as 
accurate as any short-cut can be: 

Words in 
sq. in. 

18-Point (Great Primer), solid 7 

14-Point (English), solid 10 

12-Point (Pica), solid 14 

12-Point (Pica), leaded 3 n 

n-Point (Small Pica), solid 17 

n-Point (Small Pica), leaded 14 

10-Point (Long Primer), solid 21 

1 o-Point (Long Primer), leaded ....... 16 

1 See page 88. 

2 A chapter usually begins with a sinkage of one- 
quarter page from the top, and the last page of a chapter 
is usually but partially filled with printed matter. 

3 The word " leaded" is used here to indicate a six- 
to-pica or 2-point lead. See page 62. 



MECHANICS OF THE BOOK 71 

Words in 
sq.in. 

9-Point (Bourgeois), solid 26 

9-Point (Bourgeois), leaded 20 

8-Point (Brevier), solid 30 

8-Point (Brevier), leaded 21 

7 1 Point (Minion), solid 38 

7-Point (Minion), leaded 27 

6-Point (Nonpareil), solid 47 

6-Point (Nonpareil), leaded 33 

5-Point (Pearl), solid 69 

5-Point (Pearl), leaded 50 

In cases where the number of lines to the 
inch of certain sizes of type is desired, the fol- 
lowing table may be employed up to 18-point 
body: 

No. lines 
No. lines leaded with 

Size of type set solid 2-point leads 

5-pt. 14 10 

Si-Pt. (agate) 13+ 9 + 

6-pt. 12 9 

8 " 9 7 + 

10 " 7+ 6 

12 " 6 + 5 + 

14 " 5+ 4 + 

18 " 4 3 + 

THE SAMPLE PAGE 

With these details settled, the sample page 
is next in order. Knowing that the book is 
to be a i2mo (size of leaf 5! x 7-f) or a 
iomo (size of leaf 5 J x 8j), the printer must 
"lay out" the page so as to leave margins of 
proper size and proportion. A i2mo type 



72 THE AUTHO r's DESK BOOK 

page may vary from 3 x 5 J inches to 4 x 6f 
inches. Somewhere within this area, in the 
given example, the page must contain about 
280 words. If the manuscript is long, then 
the type page must be large, the type itself 
small (never smaller than long primer l nor 
larger than pica 1 ), the leads * reduced or omitted 
altogether. This is where the printer's taste 
and skill is given an opportunity for expression: 
he is the architect of the book, and must not 
combine types or decorations which are in- 
harmonious, and his proportions must be kept 
correct. 

For his sample page for the given novel, the 
printer would select from these standard faces: 

PICA OR I2-P0INT OLD STYLE 

abcdefghijklmnopqrstuvwxyz 1 234567890 
ABCDEFGHIJKLMNOP abcdefghijklm 
ABCDEFGHIJKLMNOP abcdefghijklmno 

PICA OR I2-POINT CASLON OLD STYLE 

abcdefghijklmnopqrstuvwx 1234567890 
ABCDEFGHIJKLM abcdefghijklmn 

abcdefghijklmnopqrstuvwxyz 12345678QO 
ABCDEFGHIJKLMNOPQRSTUVW 

PICA OR I2-POINT SCOTCH 

abcdefghijklmnopqrstuvwx 1234567890 



1 See Glossary of Terms. 



MECHANICS OF THE BOOK 73 

ABCDEFGHIJKLM abcdefghijklmn 

abcdefghijklmnopqrstuvwxyz 1234-567890 

ABCDEFGHIJKLM NOPQRS TUVW 

PICA OR I2-POINT MODERN 

abcdefghijklmnopqrstuvwx 1234567890 
ABCDEFGHIJKLM abcdefghijklmn 
ABCDEFGHIJKLM abcdefghijklmnop 

SMALL PICA OR 1 1 -POINT OLD STYLE 

abcdefghijklmnopqrstuvwxyzabc 1 234567890 
ABCDEFGHIJKLMNOP abcdefghijklmno 
ABCDEFGHIJKLMNOP abcdefghijklmno pq 

SMALL PICA OR II-POINT CASLON OLD STYLE 

abcdefghijklmnopqrstuvwxyz 1234567890 
ABCDEFGHIJKLMN abcdefghijklmno 
abcdefghijklmnopqrstuvwxyz 1234567890& 
ABCDEFGHIJKLMNOPQRSTUVWXY 

SMALL PICA OR 1 1 -POINT SCOTCH 

abcdefghijklmnopqrstuvwxyz 1234567890 
ABCDEFGHIJKLMNOP abcdefghijkl 
ABCDEFGHIJKLMNO abcdefghijklmnop 

SMALL PICA OR 1 1 -POINT MODERN 

abcdef ghij klmnopqrstuvwyz 1 234567890 
ABCDEFGHIJKLMNO abcdefghuklm 
ABCDEFGHIJKLMN abcdefghijklmno pq 



74 THE AUTHORS DESK BOOK 

LONG PRIMER OR IO-POINT OLD STYLE 

abcdefghijklmnopqrstuvwxyz 1234567890 abcde 
ABCDEFGHIJKLMNOPQ abcdefghijklmnop 
ABCDEFGHIJKLMNOP abcdefghijklmnopqrstu 

LONG PRIMER OR IO-POINT CASLON OLD STYLE 

abcdefghijklmnopqrstuvwxyz 1234567890 abc 

ABCDEFGHIJKLMNOP ABCDEFGHIJKLMNOP 

abcdefghijklmnopqrstuvwxyz 1234567890 £sf abc 
ABCDEFGHIJKLMNOPQRS TUVWXYZIS 

LONG PRIMER OR IO-POINT SCOTCH 

abcdefghijklmnopqrstuvwxyz 1234567890 abc 
ABCDEFGHIJKLMNOP abcdefghuklmno 
ABCDEFGHIJKLMNO& abcdefghijklmnopqr 

LONG PRIMER OR IO-POINT MODERN 

abcdefghijklmnopqrstuvwxyz 1234567890 abc 
ABCDEFGHIJKLMNOP abcdefghuklmno 
ABCDEFGHIJKLMNOP abcdefghijklmnopqr 

Type sizes in the present day are determined 
by the point system, the fundamental unit of 
which is the point. This is obtained by 
dividing a length of 133- inches into 996 equal 
parts, each one being called a point. One 
point is therefore .0138 of an inch or 72.46 
points are equal to 1 inch. 

For purposes of convenience, a point is 
expressed as being jj °f an inch. Thus 
6-point type occupies j% of an inch of space, 



MECHANICS OF THE BOOK 75 

12-point yf and so on. This does not 
mean, however, that the actual printed face 
occupies six points on the paper, but that it 
is six points from the base to the top of the 
body carrying the face. 

In other words, one may say that it is 12 
points from the bottom of one line of 12-point 
type to the bottom of the next line of 12-point 
type, etc. 

The pica is the standard of measurement of 
the old system, and is equal to 12 points of the 
new system; thus six picas are equal to 1 inch 
or 72 points. Printers still estimate the length 
and width of a page or a column by the pica; 
thus a page 4 inches wide is 24 picas. 

The "em" is the square of a type body. 
Thus a "12-point em" is 12 points wide and 
12 points long, or 1 pica long and 1 pica wide. 
A "10-point em" is a 10 point square, etc. 
The em used in measuring newspaper column 
widths, magazine columns, etc., is known as 
the em pica, which is 12 points square. 

In using larger faces for headings and dis- 
play, or smaller faces for footnotes or quoted 

matter, the printer will select from the same 

family to which the type belongs, or from some 
family which combines with it harmoniously. 
Old-style faces should not be used with 
modern faces, but the Scotch face, which is a 
cross between old-style and modern, combines 
well with either. 

As to leading, this volume is leaded with a 



76 THE AUTHOR^ DESK BOOK 

i-point lead; between the first and second lines 
of the preceding paragraph there is no leading 
(technically, "set solid"); between the second 
and third, a 2-point lead, and between the 
third and fourth, a 3-point lead. 

In technical volumes and schoolbooks the 
Old Style Antique type is largely used for 
subject-headings and side-notes: 

LONG PRIMER OR IO-POINT OLD STYLE ANTIQUE 

, abcdefghijklmnopqrstuvwxyz 1234567890 abc 
ABCDEFGHIJKLMNOPQRSTUVWXYZ&AJ 

THE TYPESETTING 

With the sample page accepted by the pub- 
lisher or author, or both, the printer is author- 
ized to proceed with the typesetting. Setting 
type by hand is now almost entirely superseded 
by machine-composition, except for the display 
pages (such as the title) and where the type 
itself runs larger than the English (14-point) 
size, this being the limit of the machines. 
Linotype x composition is cheaper than mono- 
type, 1 but as the type is cast all in one line, 
instead of in separate characters, the cost of 
corrections is much higher. To change even 
a mark of punctuation requires recasting the 
entire line. If the manuscript is reasonably 
final in its form, the publisher is likely to order 
linotype composition; otherwise, monotype 



1 See Glossary of Terms. 



MECHANICS OF THE BOOK 77 

will be selected. Both machines carry the 
standard faces and sizes of type. 

THE PROOFS 

The first proofs sent out by the printer are 
called " galley-slips/ ' or "galleys. " * These 
are supposed to give the author opportunity 
to make such changes as are absolutely neces- 
sary. When returned to the printer, these 
galleys are made up into " page-proofs," x and 
frequently go again to the author, or the type 
may be "cast" (made into electrotype plates) 
at this point. When page-proofs are sub- 
mitted to the author, the publisher expects 
him to revise them, making sure that all his 
galley corrections have been properly made, 
rather than to make further corrections, as 
changes in the pages are still more expensive 
than in the galleys. If changes must be 
made, the author should endeavor to have the 
correction occupy exactly the same space as 
the matter cut out, or to cut out further matter 
to make room for the addition. Otherwise, 
the page so corrected will contain more than 
the standard number of lines, which must be 
thrown forward, and the make-up of each page 
changed to the end of the chapter. 

Competent proofreaders in the best offices 
frequently call the attention of the author to 
errors in dates, figures, or proper names, but 



1 See Glossary of Terms. 



78 THE AUTHOR'S DESK BOOK 

this should always be regarded by the author 
as a courtesy rather than as something which 
the printer is expected to do. The proof- 
reader, on the other hand, is supposed to have 
corrected every typographical error, and for 
the author to mark corrections which have 
been overlooked is a courtesy on the part of 
the author. The fact that the author or edi- 
tor has passed over typographical errors in 
no way relieves the proofreader of his respon- 
sibility. 

The proofreader is expected to correct any 
obvious error without hesitation, but to make 
no other changes. If he thinks a change 
should be made, it will take the form of a query 
in the margin to the author. The author 
should carefully note all such queries, and 
answer them or strike them out, bearing in 
mind that if he accepts the query the change 
necessitated in the type becomes an author's 
correction, the expense of which falls upon the 
publisher. 

Any marks on the proofs for correction 
should be made distinct by drawing a short 
line through the letter to be changed, etc., 
placing in the margin the recognized sign indi- 
cating the change, exactly opposite the line in 
which the change is to be made, and in the order 
in which the necessary alterations occur. In 
doing this be sure to write legibly, and do not 
cover the proof with lines and counter-lines. 

The author should familiarize himself with 



MECHANICS OF THE BOOK 79 

the standard proofreading marks, and employ 
these in marking all corrections upon the 
proofs which are sent him. These marks are 
as follows: 




PROOF MARKS 



MARGINAL MARK CORRESPONDING MARK IN PROOF 



He made his mar^k 
He majle his mark 
He m^de his mark 
L. He made his mark 
He msN made y mark 
He made "hi*- mark 
He made A his mark 
Therefore, be it^Resolved 
^e made his mark 
He made his mark 
He made his>fark 
Hg made his mark 
He made Jyj mark 
He made his mark 
He made his mark 
He made his mark^ 
He made Johns mark 
He made his A mark A 
This is a trademark 
He made hjsmark 
He v made A his v mark 
Hejmade his mark 
He made his mark 



take out 

close up 

invert 

bring to mark 

transpose 

let stand 

query to author 

make paragraph 

indent em-quad 

wrong font letter 

lower case letter 

small capital 

capitals 

put in italic 

put in roman 

period 



quotation marks 

hyphen 

space 

even spacing 

push down space 

broken letter 



THE above marks are the ones most generally used in proofreading. 
There are many others that are required in different classes of work, 
but these are in the main self-explanatory. This display of proof marks 
and their meanings has been prepared for The Graphic Arts and en- 
dorsed by the Boston Proofreaders Association. 

M-.A...«*y.iMibkdUJji»mi mrv r vi ' mri*^* l il ■ iji j j "■■""■"■" ■ — 



80 THE AUTHOR'S DESK BOOK 

When the page-proofs are returned to the 
printer, they are carefully "read for foundry" 
by the proofreader, and all final changes in 
the type are then made. " Bearers" 1 are 
placed around pages, which are imposed x 
in chases 1 and sent to foundry. 1 Foundry- 
proofs are taken at this point. 

THE PLATES 

The process of electrotyping is one of the 
most interesting steps in the making of a book, 
and authors will find it well worth while to 
brave the grime of the black-lead in order to 
become familiar with the detail. In brief, 
the type form is pressed down into a tablet 
made of wax or similar substance, in which 
it leaves an impression. This wax tablet is 
then allowed to remain in a galvanic bath, 
through which it becomes covered with a 
coating of copper. When separated from the 
wax, the thin, copper replica of the composed 
type is backed up by an alloy, and, after pass- 
ing through various stages in finishing, finally 
becomes an electrotype plate. 1 

COVER DESIGN AND ILLUSTRATIONS 

While the printer has been engaged in put- 
ting the manuscript into type, the publisher has 
had a designer at work upon a cover sketch, 
and an artist upon such illustrations as the 



1 See Glossary of Terms. 



MECHANICS OF THE BOOK 8l 

book requires. All this has to fall in with the 
publisher's general scheme for the book as a 
whole. The designer must know what limits 
are placed upon him as to the number of inks 
or foils, or the amount of gold-leaf which he 
may employ. The artist must know whether 
his pictures are to be drawn for full color, 
two-color or one-color plates. In deciding 
these questions, the publisher is influenced 
by what he believes the book to require in its 
appeal to the public, and how great an expense 
is warranted by the probability of its success. 

ENGRAVING 

The illustrations in all except the most 
pretentious volumes are either halftone or 
lineplate photo-engravings. In making a 
halftone plate, the picture or object to be 
reproduced is photographed through a screen 
consisting of a glass plate, diagonally ruled at 
right angles in two directions with lines num- 
bering from fifty to four hundred to the inch. 
This screen is placed inside of the camera and 
in front of, and very near, the chemically sen- 
sitized plate. The light reflected from the 
object to be photographed, varying in inten- 
sity according to the lights and shadows of 
the object, is focused on the sensitized plate 
through the intervening line screen, and affects 
the sensitized film more or less according to 
its intensity. This causes a chemical change 
of such nature that the next following opera- 



82 THE AUTHOR'S DESK BOOK 

tions, the development and the intensification 
of the picture, result in producing it in the 
form of dots and stipples varying in size, 
and consequently in the respective light and 
shade effects, according to the varying lights 
and shadows of the original. Inasmuch as the 
lights show dark and the darks light, the pic- 
ture on the glass makes a negative of the sub- 
ject. This negative is placed in a printing 
frame, in close contact with a polished copper 
plate prepared with a film sensitive to the 
light. A few minutes' exposure to the light 
renders insoluble in water those parts of the 
film which the light has reached through the 
negative, and when the other parts of the film, 
which remain soluble in water, are washed 
away, the picture appears clear on the surface 
of the plate. The dots and the stipples form- 
ing the picture are then further treated to 
enable them to resist the action of the solution 
of iron perchloride to which the plate is next 
subjected, which etches out the spaces be- 
tween the dots, and leaves the latter in relief. 
As the etching on the copper must be in reverse 
as regards right and left, in order that it may 
appear in proper relation when printed on the 
paper, the negative must be produced through 
a reflecting prism, or the finished negative, 
properly toughened, must be stripped from 
the glass on which it has been produced, and 
turned over. In ordinary practice, a number 
of such turned negatives are placed together 



MECHANICS OF THE BOOK 83 

on a single large glass, and exposed together 
on a large copper plate, to be cut apart after- 
wards and mounted separately. The primary 
etching is usually supplemented by further 
processes, such as re-etching, vignetting, hand- 
tooling and routing. The finished plate is 
finally mounted on a wooden block to the 
height of type. 

Illustrations in full color are reproduced 
from corresponding originals, usually paintings 
in oil or water-color, by means of the three- 1 or 
four-color l process of reproduction. The plates 
for this purpose are usually all halftone, but 
are sometimes a combination of halftones 
and Benday 1 plates. Two-color halftones 
have either a tint background, or secondary 
plate in tint, the latter forming the under- 
ground upon which the keyplate is printed in 
black. In the three-color process, the respec- 
tive plates are printed in yellow, red and blue 
successively over one another. In the four- 
color process a fourth plate is used to empha- 
size the blacks of the picture, the plate being 
virtually a keyplate, combining all the features 
of the subject, printed on top of the other three 
colors, usually in black or dark gray. 

It is of particular importance that the en- 
graver who is to make the halftone plates 
should be informed as to the kind of paper 
they are to be printed on. A 50-line halftone 



1 See Glossary of Terms. 



84 THE AUTHO r's DESK BOOK 

plate will print on almost anything, but is too 
coarse to render the details of the picture, and 
is usually applied only for newspaper use. It 
would be entirely too coarse for the purpose 
of book illustration. On the other hand, a 
halftone plate made through a screen of 400 
lines to the inch can be printed satisfactorily 
only upon paper of the highest surface, and with 
correspondingly careful presswork. For super- 
calendered or English-finish paper, plates 
made through a 133-line screen are most ad- 
visable, while the average coated or enameled 
paper will take 150-line halftones to best 
advantage. 

Lineplates are etchings in relief on plates 
of zinc or copper, reproduced from pen-and- 
ink-drawings, or diagrams, by photo-mechanical 
process. The method in general is the same 
as that for halftone work, but without the 
intervention of the screen. In lineplates, the 
light and shade effects are produced by grada- 
tions of thick and thin lines, in distinction 
from the effects of wash-drawings and photo- 
graphs, which are produced by gradations of 
tone. The latter require the intervention of 
the screen to convert the full tone gradations 
into the halftone of the dots and stipples, 
while the former may, as already noted, be 
reproduced directly. 

Other classes of engravings, of a more costly 
kind, and which are therefore used only in 
books of more expensive character, are the 



MECHANICS OF THE BOOK 85 

various forms of engraving in intaglio; that is 
to say, in effects produced by cutting or etch- 
ing the design into and below the surface of 
the plate, instead of cutting or etching away 
the ground, and leaving the design in relief. 
Examples of this order are the old-time copper- 
plate engraving, the more modern steel-engrav- 
ing, 1 in the form of line or mezzotint effects, 1 
photogravure, 1 and the yet more recent photo- 
intaglio process known as rotogravure, 1 and 
photo-mezzotint. 

DIE CUTTING 

Dies, 1 generally required for stamping the 
covers of books in gilt letters and designs, are 
cut in brass by hand or by finely adjusted rout- 
ing-machines, the design being drawn upon the 
metal by an artist, or transferred to it by 
photography. In the case of very elaborate 
designs, the dies are first etched by nitric acid 
or iron perchloride, and the more open or less 
intricate spaces then deepened by hand, or 
by the routing-machines. 

THE PAPER 

In selecting the paper for the book, the pub- 
lisher must consider the surface required by 
his plates, the weight necessary to give a 
proper bulk in proportion to the size of his 



1 See Glossary of Terms. 



86 THE AUTHO r's DESK BOOK 

volume, and the quality as regulated by the 
price. The average book, with no text illus- 
trations, is printed on wove * paper of antique 
finish, which is a fairly rough surface, giving 
a maximum bulk. A i2mo 1 book should 
bulk i to if inches, a iomo l book, if to i\ 
inches. If the book runs more than an average 
length, a medium- or a plate-finish paper may 
be used, and the weight per ream is regulated 
by the number of pages in each volume and 
the bulk required. 

Lineplates print satisfactorily on medium- 
finish paper, and even on antique-finish if the 
lines are not too fine. Halftones require Eng- 
lish-finish, 1 super-calendered * or coated x paper. 
Inserts 1 are almost always printed upon coated 
paper. 

Laid * paper is used in more expensive books, 
as, from its nature, better and more costly 
stock is required in its making. 

THE PRESSWORK 

Books are printed in forms x of 4 pages and 
multiples of 4 pages, depending upon the size 
of the paper leaf. The usual form is 32 pages, 
so the publisher tries to plan his volume to 
make approximately even forms. To print 
any number of pages over an even form is as 
expensive as to print the complete 32 pages. 2 



1 See Glossary of Terms. 2 See page 70. 



MECHANICS OF THE BOOK 87 

THE BINDING 

In binding, the questions to be settled include 
the style of back, — flat, half-round, or round; 
plain or gilt-top; headband 2 or not; trimmed 
or uncut edges; 1 kind of cloth, — T pattern, 2 
silk, 2 vellum, 2 etc.; color and shade of cloth; 
location of dies; stamping, — ink, foil, gold or 
Oriental tissue, etc.; jacket, — glassine, manila, 
or printed. 



1 When a volume is left with uncut edges it is to be 
assumed that its binding is of a temporary nature, and 
that the purchaser will rebind it to suit his taste. 

2 See Glossary of Terms. 



THE ARRANGEMENT OF THE BOOK 

1 HE proper layout for an ordinary volume, 
arranged in accord with the best usage, is as 
follows: 

Bastard-Title (right hand). 

Blank Page or Advertising Card (left hand). 

Title-Page (right hand). 

Copyright Page and the Printer's Imprint (left hand). 

Dedication (right hand). 

Blank Page (left hand). 

Preface (begins on right hand). 

Table of Contents (begins on right hand). 

List of Illustrations (begins on right hand). 

Introduction (begins on right hand). 

Half-Title (right hand). 

Blank Page (left hand). 

First Page of Text (begins on right hand). 

In limited editions, the limit notice is placed 
upon the reverse of the bastard-title, or on a left- 
hand page facing the bastard-title. 

Following the text may be: 

Appendix (begins on right hand). 
Glossary (begins on right hand). 
Bibliography (begins on right hand). 
Index (begins on right hand). 

Considering these various divisions more at 
length: 



THEARRANGEMENT 89 

BASTARD-TITLE 

The bastard-title, which is often wrongly 
called the half-title, is a modern evolution in 
its present application. Originally, this single- 
line title was the only title which existed, but 
as time went on the demand of the public, on 
the one hand, for a decorated page at the 
beginning of the book, together with the 
printer's desire, on the other hand, to adver- 
tise himself, developed the bastard-title into 
the dimensions of the title-page which we 
now know, containing the name of the book, 
the name of the author, the publisher's device, 
and the publisher's name and address. At 
the present time the bastard-title is used more 
to add elegance to the appearance of the vol- 
ume than for any practical purpose, it being 
pleasanter for the eye to rest first upon this 
page rather than at once upon the title-page, 
which extends over the full dimensions of the 
type area. 

ADVERTISING CARD 

If an advertising card or limit notice is 
required, this page of display should be set 
up with careful consideration of the page it is 
to face, and of the typography of the book of 
which it is to be a part. Too frequently adver- 
tising cards are looked upon as separate jobs, 
and are set in types which do not harmonize 
with the typography of the rest of the book. 



90 THE AUTHOR'S DESK BOOK 



TITLE-PAGE 

The title-page offers the printer and the pub- 
lisher a tempting opportunity for display and for 
artistic typography, and too few realize the 
value of restraint. Cobden-Sanderson once re- 
marked, as explaining the high prices which he 
secures for his work, that he always charges more 
for what he leaves out than for what he puts in. 

The earliest volumes lacked the title-page, 
because vellum and linen paper were held so 
high that the expense of an extra leaf was con- 
sidered an unnecessary luxury. In these books 
that which took the place of the title was at 
the end, the colophon being in evidence, indi- 
cating the name of the illuminator, if not 
always that of the printer. As was the case 
with the manuscript book, the volume began 
with the phrase, " Here beginneth ..." 
Later came piratical reprints, which resulted in 
making the critical reader insist upon having 
each volume stamped with the printer's name or 
mark, as a guarantee of reliable workmanship. 

The first definite step in the direction of the 
title-page is marked by bibliographers in a 
little volume printed by Arnold Ther Hoernen, 
of Cologne, in 1470. It consisted of an intro- 
duction at the head of a page, the major part 
of which was left blank. Whether the printer 
forgot to place the usual introduction at the 
head of the first page, and took this way to 
remedy his error, is not known. 



THE ARRANGEMENT 91 

In general, different faces of type should 
never be combined upon the title-page, the 
variations being secured by using smaller sizes 
of the same face, or harmonizing fonts. Capi- 
tals and lower-case letters can be successfully 
combined on the title-page only as a result of 
care and thought, the best title-pages usually 
being all in lower-case or all in caps and small 
caps. A two-color title-page is rarely a suc- 
cess unless it was originally composed with 
two colors in mind, instead of being set up in 
black and arbitrarily split up for colors. 

The decoration should never overbalance 
the type, and this applies as well to the ques- 
tion of borders on decorated books. No 
matter how beautiful, if the decoration over- 
balances the type, the volume or the title-page 
ceases to be an example of typography and 
becomes something answerable only to itself. 

COPYRIGHT 

On the reverse of the title-page is ordinarily 
placed the copyright notice of the volume, 1 
usually a little above the center, set in caps 
and small caps, or in small caps alone. At 
the foot of this same page the printer usually 
places his imprint. 2 



1 For the form and location of this notice as required 
by law see page 34. 

2 This is often an important matter in the case of 
unbound sheets shipped to England, as the ''country of 



92 THE AUTHOR'S DESK BOOK 



DEDICATION 

The dedication is a page set in the monu- 
mental style, generally in small capitals. 
This must always be a right-hand page, and 
the reverse must always be blank. 

PREFACE 

Ordinarily the preface is set in the same size 
of type as the body. If it is written by some 
one other than the author, it is frequently set 
in italic to mark the distinction. This is 
particularly true in case the book contains an 
introduction as well. If the preface is of 
unusual importance, it is sometimes customary 
to have it set in type one size larger than the 
body, or double-leaded. 

TABLE OF CONTENTS 

After the preface and before the list of illus- 
trations comes the contents, occupying what- 
ever number of pages may be necessary. The 
style of its composition is dependent entirely 
upon the subject-matter and the typographical 
arrangement of the volume. 

LIST OF ILLUSTRATIONS 

This follows the contents, and is always set 
in a style conforming to the contents page or 
pages. 



origin" must be printed on all such sheets, and the 
printer's imprint must contain the letters "U.S.A." 



THE ARRANGEMENT 93 

INTRODUCTION 

See remarks under " Preface." 

HALF-TITLE 

The half-title ordinarily consists of a single 
line, standing by itself on the first page of the 
leaf immediately preceding the first page of 
the text, and carries the title of the book as at 
the top of the first page of text. It is fre- 
quently confused with the bastard or false-title, 
which always precedes the title-page. Half- 
titles may also run through the book before 
various divisions, but the bastard-title never 
moves from its one position at the beginning 
of the volume. 

LIMIT NOTICE 

If an edition be limited in number, the 
notice of such limit should be placed either 
on the page facing the bastard-title or on the 
reverse of the bastard-title. 

IN GENERAL 

The front matter is often put into type after 
the composition of the body has been com- 
pleted, so that the number of pages is rarely 
definitely determined at the beginning of the 
work. For this reason, publishers have favored 
the expedient of numbering the preliminary 
pages with roman folios, using the arabic folios 



94 THE AUTHORS DESK BOOK 

for the text itself. The front matter and the 
chapter pages running through the book offer 
opportunities for embellishment and distinc- 
tive typographical treatment, and therefore 
should be kept in exact accord, whether elab- 
orate decorations are used or the severest 
form of typographical simplicity. 

BASIC SIZES OF BOOKS 

The following list gives the size of leaf to 
which the various standard names and pro- 
portions naturally fold: 



No. pp. 


Size of 


Name 


Size of leaf 


to form 


sheet 






32 


19 X 25 


Thirty-two mo (321110) 


3* X 4! 


32 


22 X 29 


Twenty-four mo (241110) 


38 X 52 


32 


24 x 32 


Eighteen mo (i8mo) 


4X6 


32 


27 X 34 


Sixteen mo (i6mo) 


4h X 6| 


32 


30! X 41 


Duodecimo (i2mo) 


5§ X 7f 


32 


S3 X 44 


Decimo (iomo) 


5*X 81 


16 


24 x 36 


Octavo (8vo) 


6x9 


4 


18 X 24 


Quarto (4to) 


9 X 12 


2 


18 X 24 


Folio 


12 X 18 



THEARRANGEMENT 95 

ENGLISH PAPER SIZES 





Abbre- 


Pages 


Watermarks 


Name 


viated 


to one 


in 




to 


sheet 


hand-made 


Folio 


Fo. 


4 


Vertical 


Quarto 


4to 


8 


Horizontal 


Octavo 


8vo 


16 


Vertical 


Duodecimo 


i2mo 


24 


Horizontal 


Sextodecimo 


i6mo 


32 


Horizontal 


Octodecimo 


i8mo 


36 


Vertical 


Vigesimo-quarto 


24mo 


48 


Vertical 


Trigesimo-secundo 


32mo 


64 


Vertical 



Octavos 
Foolscap 6J x 4j may become Crown 7§ X 5 inches 



Crown 7! x 5 
Post 8x5 
Demy 8f x 5s 
Medium o§ x 6 
Royal 10 x 6J 



Foolscap 8^ x 6J 
Crown 10 x 7h 
Post 10 x 8 
Demy nj x 8J 
Medium 12x9! 
Royal 12I x 10 



Demy 8f X si 
Medium 9J X 6 
Royal 10 x 6| 
Super Royal io| 
Imperial n x l\ 



X6| 



Quartos 

may become Crown 10 x 7§ inches 
" " Demy \\\ x 8f 

" Medium 12x9! 

" Royal \2\ x 10 
" " Super Royal 13J x 10J 

" " Imperial 15 x n 



Pott ish x 12^ 

Foolscap 17 x 13^ 

Crown 20 x 15 



g6 THE AUTHOR'S DESK BOOK 

Post 20 X 16 

Demy 22J x 17J 

Medium 24 x 19 

Double Pott 25 x 15J 

Royal 25 x 20 

Double Foolscap 27x17 

Super Royal 27! x 2oJ 

Double Crown 30 x 20 

Imperial 30 x 22 

Double Post 32 x 20 

Columbia 34J x 23^ 

Atlas 36 x 26 



Octavo 
Pott 6i X 3l 



Foolscap 
Crown . . . 
Post .... 
Demy . . . 
Medium . . 
Royal . . . 
Super Royal 
Imperial . . 



6f X 4 | 



74 


X 5 


8 


X5 


8| 


X5f 


9l 


X6 


IO 


X6i 


ioi 


X6f 


II 


x ih 


MARGINS 



Quarto 
7lX 6i 
8| X 6J 
10 X l\ 
10 % x 8 
niX 8f 
12 x 9h 
I2j x 10 
i3f X 10J 
15 X 11 



A feature not to be overlooked in the appear- 
ance of a well-printed book is that of the mar- 
gins. The perfect type-page is supposed to 
be proportioned in such a way that its diagonal 
is twice its width. With this page as a basis, 
the location of the type upon the paper leaf 
is to be studied carefully. In general, the two 
pages, right and left, should be considered as 
a unit, and the top margin and the inside 
margin of each page should be approximately 
the same. Doing this, the total blank between 



THE ARRANGEMENT 97 

the two pages is supposed approximately to 
equal the outside and the bottom margins. 

The proportion of margin is, to a certain 
extent, dependent upon the size of the book, 
the margins becoming greater as the volume 
increases from the thirty-two mo size up to 
the folio. A student of typography has in- 
geniously estimated that, taking the height 
of the paper leaf as 100 units, the height of 
the type page of the ordinary trade book 
should be from 72% to 75%; that of a library 
edition, from 66% to 71%; that of a de luxe 
volume, from 60% to 65%. 



MAKING THE INDEX 

-CjVERY book of a permanent nature, or 
intended as a work of reference, requires an 
index. The length of the Index, or its minute- 
ness, depends upon the nature of the subject 
treated, and the importance of making it 
easily available to the reader. The Index 
belongs to the same family as the Table of 
Contents, and the Topical Analyses often 
placed at the beginning of each chapter: the 
Contents gives a general idea of the divisions 
into which the author has separated his sub- 
ject; the Topical Analyses still further divide 
each chapter; and the Index is ordinarily still 
more minute, with the further advantage of 
having its references arranged in alphabetical 
order. 

The proper person to make an index is, first 
of all, the author of the book, provided that he 
possesses the natural characteristics. It does 
not at all naturally follow, however, that all 
authors are competent to do this, for the art 
of indexing is not as simple as many super- 
ficially suppose. The author should be the 
one best fitted, because he knows better than 
any reader the exact meaning each of his sen- 
tences is intended to convey, — and this 
meaning should be expressed in the index. 



MAKING THE INDEX 99 

The ideal index is that which gives every topic, 
thought, or reference contained in the book 
itself, without a single superfluous word, and 
with no description or comment. 

To make an index requires a quick grasp of 
the idea contained in each sentence or para- 
graph, an immediate discernment of the main 
thought, an instinctive classification, absolute 
accuracy in translating this thought into its 
briefest expression, ability to condense, and 
a sensing of the reader's needs in adequate 
cross-references. All this demands a mind 
more logical and more sensitive to codified 
detail than is possessed by many able writers. 
Under these circumstances, it is desirable to 
place the making of the index in the hands 
of one possessing these qualifications, either 
instinctively or as a result of experience. 

Every publishing-house and most printing 
establishments of any consequence are in a 
position to have indexes prepared when re- 
quired, but the danger is always present that 
the indexer, approaching his subject from the 
outside, will fail to place himself sufficiently 
in the author's attitude, and thus lessen the 
value of his work. It is most desirable, in 
order to prevent this, that the author carefully 
inspect the index while in manuscript. He 
can thus detect possible departures in the 
indexer's condensed expression of his own 
thought. 

The following rules and suggestions are 



100 THE AUTHOR'S DESK BOOK 

given with a twofold object in mind: first, 
to prevent those authors who possess the 
necessary qualifications from avoiding the pre- 
paration of their own indexes because of unfa- 
miliarity with the technical details; second, to 
enable authors intelligently to criticize the form 
as well as the matter of those indexes which 
are prepared for their volumes by other hands. 

WHAT TO INDEX 

The closeness with which a book is to be 
indexed depends partly upon the nature of its 
contents and partly upon the ideas of the 
author or publisher. Some indexes contain 
only the page references; some are so analyti- 
cal that a reader can gain an excellent idea of 
the subject-matter itself. These, however, 
represent the two extremes. The ordinary 
index aims to give every reference necessary 
to enable the reader to locate easily the subject- 
matter for which he searches, but not a synop- 
sis of that subject-matter. The entries should 
cover, then, with more or less minuteness, as 
desired, the following: 

(a) Proper names, whether of persons, places, reli- 
gious or political bodies, etc. 

(b) Events and periods. 

(c) Titles of books to which reference is made. 

(d) Specific topics or subjects. 

(e) Definitions. 

(/) Vital statements. 



MAKING THE INDEX 101 

PLAN 

The indexer should decide definitely in his 
mind just what his procedure is to be before 
actually beginning work. At first, it is well 
to make the index too full rather than the 
reverse, as it is easier to cut out thkn to fill in. 
Most important of all, he must be sure that 
the matter to be indexed is clearly understood 
before he attempts to transcribe the idea. 
The character of the book to be indexed must 
be carefully considered, taking into account 
the class of people who will probably consult it, 
and the lines on which they will probably seek 
information. 

Judgment is required in deciding whether 
it is wise to choose the exact words of the 
author or to condense the idea into other 
words. In technical books, the exact wording 
is sometimes essential, but otherwise it is more 
important to express the idea than the exact 
terms in which it is expressed. 

Always prefer simple words and expressions 
to those which are unusual and cumbersome. 

Omit every unessential word, 

When the book being indexed is one w T ritten 
upon a specific subject, this main subject should 
not be indexed unless necessary to indicate 
some reference for which a searcher would look. 
Ordinarily, the Contents covers this point rather 
than the Index. 

Bear in mind particularly the two extremes: 



102 THE AUTHORS DESK BOOK 

the importance of including every reference nec- 
essary to enable the searcher to find what he 
wishes without delay or confusion, the mistake 
of overloading the index with useless entries. 

Use ink, as pencil entries often become ille- 
gible. 

Write plainly, and do not try to economize 
space in preparing the copy. 

DEFINITION OF TERMS 

Subject: includes events, places, persons, 

facts, definitions or topics: e.g., Boston, 7; 

Bonnet, Father, 155; Huron Mission, plans for, 

I2g; Onontio, meaning of, 102; Absolutism, 

"contest with liberty, 274. 

Heading: the word or words used by the 
indexer to express the subject or idea. In 
the examples above, the headings are Boston, 
Bonnet, Father, Onontio, etc. 

Entry: the amplification of the Heading, 
with the addition of the supplementary phrase. 
In the example above, the entry is Absolu- 
tism, contest with liberty, the supplementary 
phrase being contest with liberty. 

Cross-reference: a heading referring to an 
entry: e.g., Michabou. See Manabozho. 

PROCEDURE 

Having settled upon a definite plan, the 
indexer seats himself at a good-sized table, and 
lays out his materials in front of him. After 



MAKING THE INDEX 103 

testing every possible method, the present 
writer strongly urges the use of individual 
slips of paper, about 2§ inches by 4 inches. 
Arranged within easy reach in front of the 
indexer, but leaving room for the proof-sheets, 
should be twenty small pasteboard boxes, 1 
a little larger than the slips themselves. 1 On 
the inside bottom of each box mark a letter of 
the alphabet, combining O and Q, U and V, 
and X Y Z. As soon as a slip is written, throw 
it into its proper box, and continue throughout 
the work. It is a false economy to search out 
the slips for subsequent entries, unless they 
can be easily found, as it is a simple matter at 
the end to combine the several slips which 
belong to the same heading. 

Here are sample slips, showing a heading 
which requires full entries and one to which 
the text contains fewer references. The first 
shows a slip on which the various entries have 
been combined: 



Andastes, the, 5: location and characteristics of, 
36; synonyms of, 36; plans for converting, 130; 
war with Mohawks, 147; Hurons ask aid from, 
162; mortal quarrel with Mohawks, 163; promise 
to aid Hurons, 163; Huron fugitives try to reach, 
240, 250; Mohawks first to bear brunt of war 
with, 268; receive aid from Swedish colonists, 268; 
attack Senecas, 269; courage their only strength 
270; finally overborne by Senecas, 270. 



1 These can be purchased at such stores as the Denni- 
son Mfg. Co. at a small price. 



104 THE AUTHORS DESK BOOK 

This slip shows the method of indexing a 
work in more than one volume: 



James, Edwin, gives account of Nanabush, i. 67; 
on Indian ideas of another life, ii. 79. 



In the rules which follow, the basis adopted 
is " Cutter's Rules for a Dictionary Catalogue," * 
prepared for library cataloguing. Such por- 
tion as applies to book indexing has been freely 
drawn upon, adapted and added to from the 
present writer's experience. 

ARRANGEMENT 

When, under a single entry, there are both 
subject-references and references by folios only, 
place the folio-references together at the end 
of the entry, following the subject-references. 

Arrange entries according to the English 
alphabet, whatever the order of the alphabet 



1 This pamphlet is issued by the Government, and 
copies may be secured from the Superintendent of 
Documents, Government Printing Office, Washington, 
D.C., at twenty cents a copy. 



MAKING THE INDEX 105 

in which a foreign name might have been 
entered in its original language. 

Arrange German names spelled with the 
vowels a, 6, ti as if spelled ae, oe, ue, but retain 
the form employed by the author. 

When the same word serves for several kinds 
of entries, the order should be as follows: 
person, place, subject, title: e.g., (1) Brown, 
G. F. (person). (2) Brown Village (place). 
(3) Brown-tail Moth (subject). (4) Brown 
Family , the (title). 

Forenames precede surnames: e.g., Francis 
I precedes Francis, Charles. 

AD JECTIVE-HE ADINGS 

In general, a noun or a substantive phrase 
should be selected for the heading, but when 
an adjective forms part of a name or well- 
known term, the entry should include it: e.g., 
Alimentary canal, hereditary genius, perpetual 
motion, etc. 

SUBJECT-MATTER 

It is not possible to formulate rules for in- 
dexing subject-matter as definitely as has al- 
ready been done with names, places, etc. The 
judgment of the indexer and his analytical 
skill will be called fully into play. The effort 
should be to express in the index, in the clearest 
yet briefest form, the idea which the author 
has amplified in his text. As an aid to the 
nature and form of the entries, a page of text 



106 THE AUTHOR^ DESK BOOK 

is shown on the opposite page, and the entries 
which would appear in the index from this 
page, are given below. This is what would 
be considered as a medium full index: 



Bressani, Joseph, tor- 
tured by Iroquois, 73; life 
spared by Iroquois, 73; 
sent to Fort Orange, 73; 
ransomed by Dutch, 73; 
sent to Rochelle, 73. 

Dutch, the, ransom 
Bressani, 73. 

Indian Torture, See 
Torture y Indian. 



Iroquois Indians, the, 
torture Bressani, 73; 
spare Bressani's life, 73. 

Jogues, Isaac, referred 
to, 73- 

Orange, Fort, Bressani 
sent to, 73. 

Rochelle, Bressani sent 
to, 73- 

Torture, Indian, Bres- 
sani by the Iroquois, 73. 



ESCAPE OF BRESSANI 73 

march of several days, — during which Bressani, 
in wading a rocky stream, fell from exhaustion 
and was nearly drowned, — they reached an Iro- 
quois town. It is needless to follow the revolting 
details of the new torments that succeeded. They 
hung him by the feet with chains; placed food for 
their dogs on his naked body, that they might 
lacerate him as they ate; and at last had reduced 
his emaciated frame to such a condition that even 
they themselves stood in horror of him. " I 
could not have believed/' he writes to his Supe- 
rior, " that a man was so hard to kill." He found 
among them those who, from compassion or from 
a refinement of cruelty, fed him, for he could not 
feed himself. They told him jestingly that they 
wished to fatten him before putting him to 
death. 

The council that was to decide his fate met on 
the nineteenth of June, when to the prisoner's 
amazement, and, as it seemed, to their own sur- 
prise, they resolved to spare his life. He was 
given, with due ceremony, to an old woman, to 
take the place of a deceased relative; but since 
he was as repulsive, in his mangled condition as, 
by the Indian standard, he was useless, she sent 
her son with him to Fort Orange, to sell him to 
the Dutch. With the same humanity which 
they had shown in the case of Jogues, they 
gave a generous ransom for him, supplied him 
with clothing, kept him until his strength was in 
some degree recruited, and then placed him on 
board a vessel bound for Rochelle. Here he 

Page from Parkman's Works. By permission 
Little, Brown, & Co. 



108 THE AUTHOR^ DESK BOOK 

RULES AND EXAMPLES 
Names : 

Index under the Christian name or forename: 

(a) Sovereigns, popes, queens, princes and princesses. 
Exceptions: Greek or Roman sovereigns, princes of 
the French Empire. 

(b) Persons canonized: e.g., Thomas a Becket, Saint. 
Also make cross-reference: e.g., Becket, Thomas a. 

See Thomas a Becket. 

(c) Friars required by the constitution of their 
order to relinquish their surname: e.g., Paolino da S. 
Bartolomeo. 

Also make cross-reference under family name: e.g., 
Wesdin, J. P. See Paolino da S. Bartolomeo. 

(d) Persons known only by their first names, whether 
or not their profession, rank or native place be added: 
e.g., Michelangelo Buonarroti, Rembrandt van Rhijn. 

Cross-reference under family name is optional, de- 
pendent upon closeness of indexing. 

(e) Oriental authors, including Jewish rabbis: e.g., 
AbuBakr ibnBadr. 

This rule has many exceptions. Some Oriental 
writers are known and should be entered under other 
parts of their name than the first, as " Abu-l- Kasim, 
Khalaf ibn Abbas," Firdusi, Abul Kasim, etc., known 
as, or under some appellation as " al-Masudi," "at- 
Tabari." 

In Arabic names, the words of relationship Abu 
(father), Umm (mother), Ibn, Bin (son), Ahu (brother), 
though not to be treated as names by themselves, are 
yet not to be disregarded. They form a name in con- 
junction with the word following (e.g., Abu Bakr), and 
determine the alphabetical place of the entry. But 
the article al (changed by assonance to ad-, ar-, as-, at-, 
az-, according to the letter it precedes) is neglected 
(al- Masudi). 



MAKING THE INDEX 109 

In all Oriental names, the indexer must be careful 
not to take titles, as Emir, Bey, Pasha, Sri, Babu, 
Pundit, for names. 

In regard to East Indian names, Dr. Feigl gives the 
rule: If there are two names, enter under the first, 
which is the individual name, with a cross-reference 
from the second; if there are three or more, enter under 
the third, which is the family name, with a cross-refer- 
ence under the first or individual name; the second 
may be neglected. 

Index under the surname: 

(a) In general, all persons not included under pre- 
vious rules. 

In a few cases, chiefly of artists, a universally-used 
sobriquet is to be taken in place of the family or fore- 
name, as Tintoretto (whose real name was Giacomo 
Robusti). Similar cases are Canaletto (Antonio Canale 
and also B. Belotto), Correggio (Ant. Allegri), Garofalo 
(Benvenuto Piero Tisi), II Sodoma (Giov. Ant. Bazzi), 
Spagnoletto (Jusepc Ribera, now however oftener called 
Ribera), Uccello (Paolo Doni). Always cross-reference 
from the family name. 

(b) In particular, ecclesiastical dignitaries: e.g., 
Kaye, John, Bishop of Lincoln. Lincoln, John, Bishop 
of. See Kaye. 

Bishops usually omit their family name, canons their 
forename: e.g., Canon Liddon, Bishop of Ripon, Henry 
Edward, Archbishop of Westminster, i.e., H. E. Manning. 
Care must be taken not to treat Canon as a forename 
or Edward as a family name. 

(c) Married women, using the known form: 
Wives often continue writing, and are known in 

literature only under their maiden names (as Miss 
Freer or Fanny Lewald), or after a second marriage 
retain for literary purposes the first husband's name. 
Enclose the maiden name in parenthesis: e.g., Ward, 
Mrs. Elizabeth (Phelps). Use the form White, Mrs. 



110 THE AUTHORS DESK BOOK 

Julia Charlotte, wife of J. C, when the husband's 
name is used: e.g., Hopkins, Mrs Sarah (Drake) Gar- 
retson. Stowe, Mrs. Emily Howard (Jennings). Soyaux, 
Frau Frieda (Schanz). Gasparin, Valerie (Boissier) 
Comtesse de. 

Women known under their husbands' names are to be 
entered as follows: Hinkson, Mrs. Katherine (Tynan), 
Mrs. H. A. Hinkson. Cross-reference to be made from 
the latter form. 

Index under the highest title: 

British and foreign noblemen, with cross-reference 
from earlier titles by which they have been known, 
and, in the case of British noblemen, from the family 
name: e.g., Chesterfield, 4th Earl of (Philip Dormer 
Stanhope). Chesterfield, 5th Earl of (Philip Stanhope). 
Cross-reference from Stanhope. Saint-Simon, Louis de 
Rouvroi, Due de. 

Authors should be put under their names. The 
definition of a name is "that by which a person or thing 
is known." Noblemen are known by their titles, not 
by their family names. 

In the few cases in which the family name * 
or a lower title is decidedly better known, 
index under that and cross-reference from 
the title: e.g., Francis Bacon, Baron 
Verulam; Robert Curzon, 14th Baron Zou- 



1 The British Museum enters British noblemen under 
the family name. The reasons for entry under the 
title are that British noblemen are always so spoken of, 
and always sign by their titles only. The reasons 
against it are that the founders of noble families are 
often as well known — sometimes even better — ■ by 
their family name as by their titles (e.g., Charles Jen- 
kinson afterwards Lord Liverpool, Sir Robert Walpole, 
afterwards Earl of Oxford); that the same man bears 



MAKING THE INDEX III 

che; John Napier, Baron of Merchiston; 
Horace Walpole, 4th Earl of Oxford; like- 
wise the military nobles and princes of the 
French Empire: e.g., Lucien Bonaparte, 
Prince de Canino; McMahon, Due de 
Magenta. 
Englishwomen's titles-of-honor are to be 
treated by the following rules. In the 
matter of titles an Englishwoman in mar- 
rying has everything to gain and nothing 
to lose. If she marries above her own 
rank she takes her husband's title in ex- 
change for her own, if below her own rank 
she keeps her own title. 



different titles in different parts of his life (thus Philip 
Stanhope published his " History of England from the 
Peace of Utrecht" as Lord Mahon, and his " Reign of 
Queen Anne" as Earl Stanhope; that it separates 
members of the same family (Lord Chancellor Eldon 
would be under Eldon and his father and all his brothers 
and sisters under the family name Scott), and brings 
together members of different families (thus the earl- 
dom of Bath has been held by members of the families 
of Shaunde, Bourchier, Granville, and Pulteney, and 
the family name of the present Marquis of Bath is 
Thynne), which last argument would be more to the 
point in planning a family history. The same objec- 
tions apply to the entry of French noblemen under 
their titles, about which there can be no hesitation. 
The strongest argument in favor of the Museum rule 
is that it is well-established, and that it is desirable 
that there should be some uniform rule. 



112 THE AUTHOR'S DESK BOOK 

(a) The wife of a peer takes her husband's style. 

That is, she is Baroness, Viscountess, Marchioness, 
etc. In indexing, say Brassey, Annie (Allnutt), Baron- 
ess ; not Brassey, Annie {Allnutt), Lady. 

(b) The wife of a knight or baronet is Lady. Whether 
this title precedes or follows her forename depends 
upon whether she had a title before her marriage. 

That is, if Lady Mary Smith marries Sir John Brown 
(either knight or baronet), she is Lady Mary Brown, 
also if Hon. Mary Smith marries Sir John Brown (knight 
or baronet) she is Lady Mary Brown ; but if Miss Mary 
Smith marries Sir John Brown (knight or baronet), 
she becomes Mary, Lady Brown. 

(c) A maid of honor retains her Hon. after marriage, 
unless, of course, it is merged into a higher title. 

Thus, if she marries a baronet she is the Hon^ e Lady 
Brown; if a peer, the Lady So and So. In either case 
as though she had been a peer's daughter. 

(d) The wife of an earl's (or higher peer's) younger 
son is never the Hon hle Lady; if she used the Lady 
before marriage in her own right she does not, of 
course, add anything by such marriage, but the wife 
of a younger son of a lower peer than an earl is 
HonM e Mrs. (not Lady) — the younger children of all 
peers using, of course, the family name, with or 
without their forenames, according to their rank. 

(e) If the lady to whom the title Hon. belongs in 
virtue of her father's rank marries a commoner, she 
retains her title, becoming Hon. Lady if she marries 
a knight or baronet, and Hon. Mrs. if her husband has 
no title. 

None of these courtesy titles is inherited by the 
children of those who bear them, the third generation 
of even the highest peer being simply commoners unless 
raised in rank by marriage or merit. 

(/) The title Lady belongs to daughters of all noble- 
men not lower than earl. 

(g) The title Hon. belongs to daughters of viscounts 
and barons; also to an untitled woman who be- 



MAKING THE INDEX 113 

comes a maid-of-honor to the Queen, and this title is 
retained after she leaves the service. If a woman who 
has the title Lady becomes maid-of-honor she does 
not acquire the title Hon. 

Index compound names according to the 
usage of the author's fatherland, though 
if it is known that his practice differs 
from this usage, his preference should be 
followed. Compound names then go: 

(a) If English, under the last part of the name, 
when the first has not been used alone by the author: 
e.g., Gould, Sabine Baring-; but Halliwell (afterwards 
Halliwell-Phillipps), J. 0., and Locker (afterwards 
Locker- Lampson), because they are well-known under 
the first names. 

(b) If foreign, under the first part. 

Both such compound names as Gentil- Bernard and 
such as Gentil de Chavagnac. There are various excep- 
tions, when a name has been more known under the 
last part, as Fenelon, not Salignac de Lamothe F melon; 
Voltaire, not Arouet de Voltaire; Sternberg, not Ungern- 
Sternberg. Moreover, it is not always easy to deter- 
mine what is a compound surname in French. Cross- 
references are necessary whichever way one decides 
each case, especially when the second part of a for- 
eign compound name has been used alone, as Merle 
d' Aitbi gne (index under Merle with a cross-reference 
from Aubigne). 

In French, a forename is sometimes joined to a sur- 
name by a hyphen. In such cases make the entry 
under the family name, with a cross-reference from 
the forename: e.g., entry, Rochetle, Desire Rao ul ; cross- 
reference, Raoul-Rochette, Desire. See Rochette. 

(c) In foreign compound names of women also, al- 
though the first part is usually the maiden name and 
the second the husband's name, the entry should 



114 THE AUTHOR'S DESK BOOK 

generally be under the first, with a cross-reference 
from the second 1 : e.g., Rive- King, with cross-refer- 
ence from King, born Rive. 

Index surnames preceded by prefixes:^ 

(a) In French and Belgian, under the prefix when it 
is or contains an article, Le, La, V , Du, Des; under 
the word following when the prefix is a preposition, 
de, d': e.g., Des Essarts, Du Cange, La Fontaine, Le 
Sage, U Estoille ; but Charlevoix, P. F. X. de; Estrees, 
M™ d\ 

La and Le are often, Des is usually, and Les is almost 
without exception printed as one word with the name 
following, as Lafontaine, Lesage, Lesdiguieres ; de and 
d y are sometimes so printed; when they are, enter under 
the D: e.g., Debucourt, Decamps, Delisle; but Bucourt, 
A. de, Camps, C. de, Lisle, J. de. 

(b) In English, under the prefix, no matter from 
what language the name is derived, with cross-refer- 
ences when necessary: e.g., De Quincey,Van Bur en. 

(c) In all other languages, under the name following 
the prefix, with cross-references whenever the name 
has been commonly used in English with the prefix, 
as Del Rio, Vandyck, Van Ess : e.g. Gama, Vasco da. 
Goethe, J. W. von. 

But when the name is printed as one word, entry 
is made under the prefix, as Vanderhaeghen. 

(d) Naturalized names with prefixes are to be treated 
by the rules of the nation adopting them. 

Thus German names preceded by von, when belong- 
ing to Russians, are to be entered under Von, as this 
is the Russian custom. So when Dutch names com- 
pounded with van are adopted into French or English 
(as Van Laun) the Van is treated as part of the family 
name. 

Prefixes are d', de, de La (the name goes under La 



1 See page 109. 



MAKING THE INDEX 1 15 

not de), Des, Du, V , La, Le, Les, St, Ste (to be arranged 
as if written Saint, Sainte), da, dot, dalla, dalle, dai, 
dagli, del, della, delle, del {de or de), degli, da, dos, 
das, ten, ter, thor, Van, Dander, vanH, ver, am, auf, auf'ni, 
aus, aus'nt, in, im, von, vom, zu, zum, zur, A', Ap, 0\ 
Fitz, Mac (which is to be printed as it is in the title, 
whether M y , or Mc, or Mac, but to be arranged as if 
written Mac). 

Index names of capes, lakes, mountains, 
rivers, forts, etc., beginning with Cape, 
Lake, Mt., etc., under the word following 
the prefix, but when the name is itself 
used as a prefix, do not transpose Cape, 
etc., nor in such names as Isle of the Woods, 
Isles of Shoals; but there is more reason 
for writing France, Isle de; Man, Isle of; 
Wight, Isle of: e.g., Cod, Cape; George, 
Lake; Washington, Mt.; Moultrie, Fort; 
but Cape Breton Island. When the name 
of a fort becomes the name of a city, of 
course the inversion must be abandoned, 
as Fort Wayne. 

Forenames are to be used in the form em- 
ployed by their owners, however unusual, 
as Will Carleton, Sally (Pratt) McLean, 
Hans Droysen, Fritz Renter. 

Give names of places in the English form. 
(Cross-reference from the vernacular, if 
necessary): e.g., Munich not Muenchen 
or Munchen, Vienna not Wien, Austria 
not O ester reich. 

But if both the English and the foreign forms 
are used by English writers, prefer the 



Il6 THE AUTHORS DESK BOOK 

foreign form: e.g., Dauphine rather than 
Dauphiny. 

Use the modern name of a city and cross- 
reference to it from the ancient, provided 
its existence has been continuous and there 
is no doubt as to the identity. 

Distinctive epithets are to be in the same 
language as the name: e.g., 

Kniaz, fiirst von, Freiherr zu, due de Magenta, Bishop 
of Lincoln, eveq\ue de Meaux; but Emperor of Germany, 
King of France, not kaiser and roi, when names of 
sovereign princes are given in English. Treat in the 
same way patronymics habitually joined with a person's 
name; as, Clemens Alexandrinus. 

Prefixes (i.e., titles which in speaking come 
before the name), as Hon., Mrs., Rev., 
etc., should in the heading be placed before 
the Christian name (as Smith, Capt. John), 
and suffixes as Jr., D.D., LL.D., after it 
(as Channing, James Ellery, D.D.). 

Hereditary titles generally follow the Christian name, 
as Derby, Thomas Stanley, ist earl of; but British 
courtesy titles (i.e., those given to the younger sons of 
dukes and marquesses) precede, as Wellesley, Lord 
Charles {2d son of the Duke of Wellington). In other 
languages than English, French, and German the 
title usually precedes the forename; as, Alfieri, Conte 
Vittorio. Occasionally a French nobleman uniformly 
places his title before his forenames; as, Gasparin, 
Comte Agenor de. 

Lord should be replaced by the exact title in the 
names of English noblemen: e.g., Lord Macaulay 
should be entered as Macaulay, ist baron. Lord in the 



MAKING THE INDEX 117 

title of Scotch judges follows the family name; as, 
Karnes, H. Home, afterwards Lord. 

The title Baronet is given in the form Scott, Sir 
Walter, hart. 

Patronymic phrases, as of Dedham, follow all the 
names; but they must immediately follow the family 
name when they are always used in close connection 
with it, as Giraidt de St. Farjeau, Eusebe; similarly 
aine, fits, jeitne, as Dumas fits, Alexandre; Didot fils, 
Ambroise. Latin appellatives should not in general be 
separated from their nouns by a comma; as, Caesar 
Heisterbacensis. 

The name of a king's wife should be written thus: 
Charlotte, Queen, consort of George III of England. 
Anne Boleyn Queen, 2d consort of Henry VIII of 
England. 

Countries and places : 

Index under countries or places important 
events relating to them: e.g., Montreal, 
Cartier's description of houses at. Also 
make reference under name: e.g., Cartier, 
description of houses at Montreal. 

Enter congresses of several nations under 
the name of the place of meeting (as that 
usually gives them their name), with cross- 
references from the nations taking part 
in them, and from any name by which they 
are popularly known: e.g., the Congress 
of London, of Paris, of Verona, Interna- 
tional Peace Congress at the Hague. 

Enter treaties under the name of each of the 
contracting parties, with a cross-reference 
from the name of the place of negotiation, 



Il8 THE AUTHOR'S DESK BOOK 

when the treaty is commonly called by 
that name, and from any other usual 
appellation: e.g., treaty of Versailles, 
Barrier treaty, Jay's treaty. 

Parties and sects : 

Enter the official publications of any politi- 
cal party or religious denomination or 
order, under the name of the party, or 
denomination, or order: e.g., 

Platforms, manifestoes, addresses, etc., go under 
Democratic Party, Republican Party, etc. 

Confessions of faith, creeds, catechisms, liturgies, 
breviaries, missals, hours, offices, prayer books, etc., 
go under Baptists, Benedictines, Catholic Church, Church 
of England, Friends, etc. 

That part of a body which belongs to any place 
should be entered under the name of the body, not 
the place: e.g., Congregationalists in New England, 
Congregationalists in Massachusetts, not New England 
Congregationalists , Massachusetts Congregationalists. 
But cross-references must be made from the place 
(indeed in cases like Massachusetts Convention, Essex 
Conference, it may be doubted whether those well- 
known names should not be the headings). 

Enter corporations and quasi corporations, 
both English and foreign, under their 
names as they read, neglecting an initial 
article or serial number when there is one. 

Enter orders of knighthood, both those of 
medieval times and their honorary modern 
equivalents, under the significant word 
of the English title: e.g., Garter, Order of 



MAKING THE INDEX 119 

the; Malta, Knights of; Templars, Knights; 
Teutonic Order; Freemasons. But the 
American Knights Templars, being merely 
a division of the Freemasons, belong under 
Freemasons ; so of other regular masonic 
bodies. 

The colleges of an English university and 
the unnamed professional schools of an 
American university go under the univer- 
sity's name. Such professional schools, 
if they have a distinctive name, particu- 
larly if at a distance from the university, 
or for any other reason less closely con- 
nected with it, go under their own name: 
e.g., Oxford University, Magdalen College; 
Harvard University, Veterinary School; 
but Barnard College, Columbia University; 
Radclife College, Harvard University; 
Sheffield Scientific School of Yale Uni- 
versity. 

College libraries go under the name of the 
college: e.g., Harvard College, University 
Library. But the Bodleian Library may 
be put under Bodleian. 

Local college societies go under the name of 
the college; intercollegiate societies and 
Greek letter fraternities under their own 
names: e.g., </>bk i, of Harvard. 

Alumni and Alumnae associations go under 
the name of the school or college: e.g., 
Harvard Alumni Association of New York. 

Schools supported by public taxation go 



120 THE AUTHOR'S DESKBOOK 

under the name of the city or town main- 
taining them, whether they have an indi- 
vidual name or not. 

When a corporation is much less known by 
the first words of its name than by a later 
part, enter under the later part: e.g., 
Christian Endeavor, Young People's So- 
ciety of. 

Enter guilds under the name of the trade: 
e.g., Stationers Company, not Master and 
Keepers or Wardens and Commonality of 
the Mystery and Art of Stationers of the 
City of London, which is the corporate title. 

Enter bodies whose legal name begins with 
such words as Board, Corporation, Trus- 
tees under that part of the name by which 
they are usually known: e.g., Trustees of 
the Eastern Dispensary; President and 
Fellows of Harvard College; Proprietors 
of the Boston Athenceum; Contributors 
to the Asylum for the Relief of Persons 
Deprived of their Reason. Cross-reference 
from the first word of the legal name. 

Enter the name of a firm under the family 
name rather than the forename, and do 
not fill out the forenames: e.g., Fried- 
lander und Sohn, Raphael, not under 
Raphael; Stokes, F. A. Co., not Stokes, 
Frederick A. Co. 

The consulter is much more likely to remember the 
family than the Christian name. Whether the Chris- 
tian name is written at the end or thus, Town (John) 



MAKING THE INDEX 121 

and Bowers {Henry), all firms should be arranged after 
all the other entries of the first family name, i.e., 
Friedlander und Sohn after all the Friedlanders. 

This rule might be extended to include corporations, 
colleges, libraries, etc., whose legal names include fore- 
names. Entry under a forename, as Silas Bronson 
Library, and especially under initials, as T. B. Scott 
Public Library, is awkward. But the public habit is 
not yet sufficiently settled to justify an exception. 

Enter the universities of the European con- 
tinent and of Central and South America 
under the name of the place; all other 
societies under Koniglicke, Herzogliche, etc. 

Cross-reference from the first word in the university 
names and from the place of societies. 

A few learned academies, commonly called by the 
names of the cities where they are established, may 
be entered under the place with a cross-reference from 
the name. These are Berlin, Gottingen, Leipzig, Lisbon, 
Madrid, Munich, St. Petersburg, Vienna. 

Enter national libraries, museums, and gal- 
leries, as well as libraries, museums, and 
galleries instituted or supported by a 
city, under the place, provided they have 
not a distinctive name. 

Example of place: Paris Bibliotheque Nationale. 
Boston Public Library. 

Example of name: Berkshire Athenceum; Boston 
Athenceum ; British Museum; Forbes Library; Maruc- 
celiana, Biblioteca ; Reuben Hoar Public Library. 

Enter observatories under the name of the 
place: e.g., Greenwich, Observatory. Pid- 
kowa, Sternwarte ; except that: 



122 THE AUTHOR'S DESK BOOK 

(a) University observatories go under the univer- 
sity: e.g., Harvard College. Astronomical Observatory, 
at Cambridge. (Cross-reference from Cambridge.) 

(b) Any observatory having an individual name may 
go under that: e.g., Lick Observatory, Yerkes Observa- 
tory. 

Enter expositions under the place where they 
were held: e.g., 

Buffalo, Pan-American Exposition, 1901; Chicago, 
World's Columbian Exposition, 1893; New Orleans, 
World's Industrial and Cotton Centennial Exhibition, 
1884-85; Philadelphia, Centennial Exhibition, 1876. 

Cross-reference from an individual name. 

Enter American State universities and State 
historical, agricultural and medical socie- 
ties, whether supported by the State or 
not, under the name of the State, unless 
they are better known by a distinctive 
name. The State's name usually enters 
into the name of these societies and they 
are known outside of the State by its name. 
Cross-reference when necessary. 

Enter churches under the name of the place. 

Single churches have usually been entered under the 
place, a practice which arose in American indexes from 
our way of naming churches "The First Church in 

," "The Second Church of ," etc., and applies 

very well to a majority of English churches, whose 
name generally includes the name of the parish. It is 
more in accordance with indexing principles to limit 
the local entry of churches to First Church, etc., and 
those which have only the name of the town or parish, 
and to put all others (as St. Sepulchre's, St. Mary 



MAKING THE INDEX 123 

Alder mansbury) under their names, as they read, and 
to treat convents and monasteries in the same way; 
but the convenience of having a single definite rule 
has been held to outweigh in this case the claims of 
consistency. 

The parishes of London (as Kensington, Marylebone, 
Southwark), like the parts of Boston (Dorchester, 
Roxbury, etc.), or of any other composite city, would 
be put under their own names, not under the name of 
the city. 

A few cathedrals generally known by some 
other name may be entered under it: e.g., 
St. Paul's, London; Notre Dame, Paris; 
St. Peter's, Rome; St. Sophia, Constanti- 
nople. 

Put monasteries and convents, like churches, 
under the place, unless better known by 
the name. 

National banks designated merely by num- 
ber (as First National Bank of Boston) 
go under the name of the place. 

Young men's Christian associations, mer- 
cantile library associations, and the like, 
should have local entry. 

Private schools having no distinctive name 
go under the name of the proprietor. 

Private libraries, galleries and museums go 
under the name of the proprietor. 

Buildings are for the most part provided for 
in the above rules, as museums, gal- 
leries, libraries, churches, etc. Any others 
should be entered under their names, with 
a cross-reference from the city. 



124 THE AUTHOR'S DESK BOOK 

Headings like Charles, George, Henry, when 
very numerous, must be divided into 
classes, in this order: Saints, Popes, Em- 
perors, Kings, Princes, and Noblemen, 
others. The Saints are sub-arranged by 
their usual appellatives, the Popes by 
their number, Sovereigns and Sovereign 
princes in alphabetical order of countries, 
and under countries numerically. Other 
persons are sub-arranged by their usual ap- 
pellatives, neglecting the prepositions: 1 e.g., 



Peter, Saint. 
Peter , Pope. 
Peter, the Great, Emperor 

of Russia. 
Peter II, of Aragon. 
Peter III, of Aragon. 
Peter I, of Portugal. 
Peter, Duke of Newcastle. 



Peter, of Groningen, enthu- 
siast. See Pieter. 
Peter, John Henry. 
Peter, Lake. 
Peter, Mt. 
Peter- Hans en, Erik. 
Peter Lewis, a true tale. 



When there are two appellatives coming in different 
parts of the alphabet, cross-reference from the rejected 
one, as Thomas Cantuariensis. See Thomas Becket. 

Arrange in two alphabets names that differ 
slightly in spelling and come close together 
in the alphabet: e.g., 

Brown and Browne, and the French names beginning 
with Saint and Sainte. As readers may not always 
know the spelling of the author's name, cross-references 
should be made: e.g., Brown. See also Browne. 



1 So that Thomas de Insula and Thomas Insulanus 
may not be separated. 






MAKING THE INDEX 125 

Arrange by the forename headings in which 
the family name is the same. 

No attention is to be paid to prefixes, as Bp., Capt., 
Dr., Hon., Sir, Fraulein, Miss, Mile., Mme., Mrs., 
or to suffixes, as D.D., F.R.S., LL.D., etc. 

When the forenames are the same, arrange 
chronologically. 

No attention is to be paid to the titles Sir, etc.: 
e.g., Bart, T. L., comes before Bart, Thomas, for the 
same reason that Bart comes before Barta. 

Forenames not generally used should be 
neglected in the arrangement. 

When an author is generally known by one of several 
forenames he will be looked for by that alone, and that 
alone should determine the arrangement. The form 
should be Harte, Bret (in full Francis Bret), or Harte, 
Bret (i.e., Francis Bret). 

Make cross-references whenever the omission of a 
name will change the alphabetical arrangement, as 
from M tiller, F. Max, to M tiller, Max. 

When there are two names exactly the 
same, add dates if available: e.g., Frank- 
lin, John (d. 1759)) Franklin, John (d. 

i86 3 ). 

If an author uses both the shorter and the 
longer forms in different works, and yet is 
decidedly better known by the shorter, 
arrange by that. 

Arrange a nobleman's title, under which 
entry is made, and the name of a bishop's 



126 THE AUTHOR'S DESK BOOK 



see, from which reference is made to the 
family name, among the personal names, 
not with the places: e.g., 



London, 
London, 
London, 
London, 
London, 

not London, 
London, 
London, 

nor London, 
London, 
London, 
London, 



Alfred. 

David, bp. of. 

John. 

Gonn. 

Eng. 

John. 

David, bp. of. 

Conn. 

John. 

Conn. 

David, bp. of. 

Eng. 



Danby, John. 
Danby, Thomas Osborne, 
earl of. 
Danby, Wm. 
Danby, Eng. 
Holland, C. 
Holland, 3d baron (H: R. 

Vassal Fox). 
Holland, 4th baron (H: E. 

Vassal Fox). 
Holland (the country). 



The possessive case singular should be 
arranged with the plural: e.g., 



Bride of Lammermoor. 
Brides and bridals. 
Bride's choice. 



Boys' and girls' book. 
Boy's King Arthur. 
Boys of '76. 



Arrange Greek and Latin personal names 
by their patronymics or other appella- 
tives: e.g., 



Dionysius. 
Dionysius Areopagita. 



Dionysius Chalcidensis. 
Dionysius Genuensis. 



Arrange English personal and place names 
compounded with prefixes as single words; 
also those foreign names in which the 
prefix is not transposed: e.g., 



MAKING THE INDEX 



127 



Demonstration. 
De Montfort. 
Demophilus. 
De Morgan. 
Demosthenes. 



Other such names are Ap 
Thomas, Des Barres, Du 

Chaillu, Fitz Allen, La 
Motte Fouque, Le Sage, 
Mac Fingal, O'Neal, Saint- 
Real, Sainte-Beuve, Van 
Buren. 



This is the universal custom, founded on the fact 
that the prefixes are often not separated in printing 
from the following part of the name. It would, of 
course, be wrong to have Demorgan in one place and 
De Morgan in another. 

Arrange proper names beginning with M\ 
Mc, St., Ste. as if spelled Mac, Saint, Sainte. 



Because they are so pronounced. But U is not 
arranged as La or Le, nor 0' as if it stood for Of, be- 
cause they are not so pronounced, 

Arrange compound names of places as sepa- 
rate words, except those beginning with 
prefixes: e.g., 



New, John. 
New Hampshire. 
New legion of Satan. 
New Sydenham Society. 
New York. 
Newark. 
Newfoundland. 
Newspapers. 



not New, John. 

New legion of Satan. 

Newark. 

Newfoundland. 

New Hampshire. 

Newspapers. 

New Sydenham Society. 

New York. 



Arrange personal names compounded of 
two names with or without a hyphen after 



128 THE AUTHOR'S DESK BOOK 

the first name, but before the next longer 

word: e.g., 

Fonte, Bart. de. Fontenay, Louis. 

Fonte Resbecq, Auguste. Fontenay Mareuil, Francois. 

Arrange names of societies as separate words. 

See New Sydenham Society in the list above. 

Arrange hyphened words as if separate: e.g., 

Happy home. Grave and Reverend Club. 

Happy-Thought Hall. Grave County. 

Happy thoughts. Grave Creek. 

Home and hearth. Grave-digger. 

Home rule. Grave-mounds. 

Homely traits. Grave objections. 

Homer. Grave de Mezeray, Antoine. 

Sing, pseud. Gravel. 

Sing, James. Gravestone. 

Sing, James, pseud. Graveyard. 

Sing-Sing Prison. Out and about. 

Singapore. Out in the cold, a song. 

Singing. Out-of-door Parliament. 

Outer darkness, The. 

Arrange pseudonyms after the corresponding 
real name: e.g., 

Andrew, pseud. Andrew, John. 

Andrew, St. Andrew, John, pseud. 

Andrew, St., pseud. Andrew, John Albion. 

Arrange incomplete names by the letters. 
When the same letters are followed by 
different signs, if there are no forenames, 
arrange in the order of the complexity of 
signs; but if there are forenames, arrange 
by them: i.e., put a dot before a line, a 



MAKING THE INDEX I2Q 

line before a star (three lines crossing), 
etc.: e.g., 

Far from the world. Far, ** * B. F. 

Far. . . Far. . ., J. B. 

Far * * * Farr, John. 

The arrangement of title-entries is first by 
the heading words; if they are the same, 
then by the next word; if that is the same, 
by the next; and so on. Every w 7 ord, 
articles and prepositions included, is to 
be regarded, but not a transposed article: 
e.g., 

Uncovenanted Mercies. Under the Greenwood Tree; 

Under a Cloud. a poem. 

Under the Ban. Under Which King. 

Under the Greenwood Tree; Undone Task, The. 
a novel. Undone Task Done. 1 

It makes no difference whether the words are con- 
nected with one another in sense or not; the searcher 
should not be compelled to think of that. Let the 
arrangement be by words as ordinarily printed. Thus 
Home Rule is one idea but it is two words, and its place 
must be determined primarily by its first word Home, 
which brings it before Homeless. If it were printed 
Homerule it would come after Homeless. Similarly 
Art Amateur is one phrase, but as the first word Art 
is followed by a word beginning with am, it must come 
before Art and Artists, although its parts are more 
closely connected than the parts of the latter phrase. 

The French d' and /' are not to be treated as part of 
the following word: e.g., 



1 Here the transposed The is non-existent for the 
arranger. -o 



130 THE AUTHORS DESK BOOK 

Artd'economiser. not Art de fair e. 

Art d'etre grand per e. Art de linguistique. 

Art d'instruire. Art de V instruction. 

Art de j 'aire. Artd'economiser. 

Art de l' instruction. Art des mines. 

Art de linguistique. Art d'etre grand per e. 

Art des mines. Art digne. 

Art digne. Art d'instruire. 

Arrange titles beginning with numeral 
figures as if the figures were written out 
in the language of the rest of the title: e.g., 

ioo deutscher Manner — Ein hundert deutsche 
Manner; 1812 — ■ Mil huit cent douze. 

Arrange abbreviations as if spelled in full, 
but elisions as they are printed: e.g., 

Dr., M., Mile., Mme., Mr., Mrs., St., as Doctor, 
Monsieur, Mademoiselle, Madame, Mister, Mistress, 
Saint. 

But Who'd be a king? 

Who killed Cock Robin? 
Who's to blame? 

Care must be taken not to mix two subjects 
together because their names are spelled 
in the same way. 

Thus Grace before meals, Grace of body, Grace the 
musical term, and Grace the theological term, must be 
four distinct headings. 



GLOSSARY OF TERMS 

Note. — (b) Signifies terms used in connection with binding only, 
{c) Terms usually employed in connection with the composing-room- 
ie) Terms used in engraving, {el) Terms used in electrotyping. 
(g) Terms used with general significance, (p) Terms used in con- 
nection with presswork. 

Accents (g). — Small marks placed over, under, or through par- 
ticular letters, used to indicate pronunciation. 
Adams Press (p). — A large platen printing-machine, used for 

bookwork. 
Agate (c). — A small size of type equal to 5^ points. See Point. 
Alignment (c). — The arrangement of type in straight lines, also 

the adjustment of the lines of type so that their ends appear in 

line, vertically. 
Ail-along (b). — In sewing a book, when the thread is passed from 

kettle-stitch to kettle-stitch, or from end to end in each sheet, 

it is sewed ail-along. 
Alley (c). — The floor space between stands where compositors 

work. 
American Russia (b). — See Cowhide. 
Antique Type (c). — Fonts of type of an old or medieval character. 

The lines of all the characters are nearly uniform as to thickness; 

the corners square and bold. 
Aquatint (e). — A peculiar style of etching on copper or steel in 

imitation of drawings in sepia or India ink. 
Arabic Numbers (c). — The numeral figures as distinguished from 

Roman characters. 
Art Canvas (b). — A book cloth known both as Art Canvas and 

Buckram. 
Art Work (e). — See Retouching. 
Ascending Letters (c). — Letters that ascend to the upper shoulder 

of the type body; as, b, d, f, h, I, etc. 
Author's Proof (c). — Proof sent to the author for inspection and 

approval. 
Azure Tools (b). — Used in binding, where the heavy and wide 

marks, instead of being a solid mass, are made with horizontal 

lines. 

Backing (b). — The process of forming the back in preparing the 
book for the cover or case, commonly called Rounding and Back- 
ing. It is done in three ways; viz. (1) by hand with a hammer, 
(2) by a hand rounding-and-backing machine, (3) by a steam- 
or electric-driven machine. 



132 THE AUTHORS DESK BOOK 

Backing Up (p). — Printing the second side of a sheet. 

Band Driver and Nippers (6). — Tools used in forwarding, to cor- 
rect irregularities in the bands of flexible backs. 

Bands (b). — The cords on which the sheets of a volume are sewed. 
When sewed " flexible," the bands show on the back of the book; 
when bands are let in the back by sawing grooves, narrow strips 
of leather are glued across the back to look like raised bands. 

Bank (c). — A high table or bench with a sloping top; when used 
for type only it is called a standing galley. 

Basket Cloth (b). — This is a fancy weave of cloth, of construction 
similar to the weaving of wickerwork baskets. It is a novelty 
binding. 

Bastard-Title (c). — The title of a book printed upon a page by 
itself and preceding the regular title-page. 

Battered (c). — Type, electrotype, or engraving accidentally 
injured. 

Bead (b). — An old-time term meaning the head-band, q. v. 

Bearers (p). — Strips of metal or wood, type-high, made up with 
type to sustain impression while proving, or to bear off the im- 
pression on light parts, and to carry the rollers evenly over a 
form in printing. 

(c). — Type-high pieces of metal placed around pages or forms 
to be electrotyped, to prevent injury to the face of the type or the 
plates in the subsequent processes, and cut away from the plates 
before printing. 

Bed (p). — The flat part of a press upon which the type or form 
is placed. The part on which the sheet is placed is called the 
platen, or the cylinder. 

Benday Plates (e). — Plates made by laying shaded tints on copper 
or zinc, and etching them to produce colors or combination of 
colors when printed. 

Beveled Sticks (c). — Strips of furniture wider at one end than 
the other; they are used with wooden quoins in locking up on 
galleys and in chases. 

Bible India Paper (g). — The thinnest paper made for books, formerly 
only made in England and Italy ; now made in America. A very high- 
grade stock. See Oxford Bible Paper. 

Binder (b). — A temporary cover for periodicals and pamphlets, 
usually arranged so that it may be taken off and attached to 
subsequent copies of a publication. A bookbinder. 

Black Letters (c). — A style of letter or type characterized by 
black face and angular outlines. It was designed by the early 
printers from a current form of manuscript letter. 

Blank (g). — A page upon which no printing appears. 

Blank Books (b). — Applied to a large variety of books which are 
bound with blank leaves, or leaves having ruled lines and little 
or no printing: account books, memorandum books, ledgers, etc. 

Blanking (b). — Term employed in reference to stamping. Im- 
pression made on cloth or leather by heated brass die. 

Bleed (b). — When the margins of a book or a pad of printed sheets 



GLOSSARY 133 

have been trimmed so as to cut into the printing, they are said 

to bleed. 
Blind Tooling or Stamping (b). — Impressions of finisher's tools or 

book-dies without ink or gold-leaf. Sometimes called antique. 
Blocking Press (b). — A stamping press for impressing blocks or 

dies on covers. 
Blocks (c). — The wood or metal bases on which electrotypes and 

engravings are mounted. 

(p). — Mechanical devices used on printing-presses for the 

purpose of holding plates in their proper positions in the 

form. 
Board Papers (b). — The part of the end-papers pasted on the board 

covers. 
Boards (b). — Applied generally to many kinds of heavy card- 
board. A book with stiff sides covered with paper of any color 

is said to be bound in paper boards. 
Bock Morocco (b). — A term given to a leather made of Persian 

sheepskin, finished in imitation of morocco. 
Bodkin (c). — A sharp tool, like an awl, used for picking out letters 

from a body of set type, when making corrections. 
Body (c) . — The shank of a type as determining its size. 
Bold-face (c). — A heavy-faced type, used for contrast. It is 

also known as Full-face. 
Bolt (b). — The closed ends of leaves of an uncut book which pre- 
sents a double or quadruple fold. 
Book Cloth (b). — Cloth used for making covers or cases for books. 

It is made by special processes and in many different grades 

and patterns. See also Cloths. 
Borders (c). — Ornamental characters cast in type, the pieces being 

adjustable in lines, or designs to surround pages, panels, etc. 
Bourgeois (c). — The old-style name of a size of type equal to 

o-point. 
Boxes (c). — The small compartments of a type case. 
Box-head (c). — A column heading in a ruled table. Any heading 

enclosed in rules. 
Brass Rule (c). — Thin strips of brass, type-high, of different 

thicknesses and many styles of face — used for straight lines, 

column rules, etc. 
Brasses or Brass Boards (b). — Boards made for pressing books, 

called by these names because of the narrow brass strips on the 

edges by which the grooves are formed at the joints or hinges 

of the cases. 
Brayer Roller (c). — A small hand roller for distributing ink. 
Break-line (c). — A short line — the last line of a paragraph. 
Brevier (c). — The old-style name of a size of type equal to 8-point. 
Brochure (b). — A pamphlet, an unbound book of which the sheets 

are held together by sewing only. 
Buckrams (b). — These are the heavier weaves of cloth finished like 

Linens. They should be used whenever the books will receive 

more than ordinary wear. 



134 THE AUTHORS DESK BOOK 

Buffing (b). — The layer of cowhide taken off in buffing or splitting 
the hide. 

Bulk (g). — The thickness of a book before the covers are put on. 

Bundling (b). — The process of pressing and tying together signa- 
tures or folded-and-gathered books for the purpose of (i) eject- 
ing air and making them solid, (2) for convenience in handling. 

Burnished Edges (b). — Edges which, after being colored, are made 
smooth and bright by a tool especially made for polishing the 
surface. 

C Pattern (b). — Embossing on book cloth of small, pebble-shaped 

figures, scarcely larger than the head of a pin. 
Cabinet (c). — A frame for holding type cases. 
Calendered Paper (g). — See Super-calendered Paper. 
Calf (b). — Leather made of the skin of a calf. It has a smooth, 

uniform surface. 
Cameo Paper (p) . — A dull-surface coated paper on which most artis- 
tic effects may be secured in printing from halftone plates. 
Canceled Matter (c). — Set-up type or plates which have been 

suppressed or killed. 
Cancels (b). — Printed leaves containing errors, which have to 

be cut out and replaced with corrected pages. 
Cap (c). — An abbreviation of Capital. Caps and Small Caps are 

contained in the upper case, and are called upper-case letters. 
Caps (b). — Paper coverings used to protect the edges while a book 

is being covered and finished Also the leather covering the 

headband. 
Caption (g). — The title-line placed below an illustration. 
Caret (c). — A sign or mark used in proofreading and writing to 

show that a letter or word has been omitted. 
Case (b). — The cover of a cloth-bound book. 

(c). — A shallow, open wooden tray, divided into small com- 
partments, in which the types are placed. 
Case Binding (b). — A method of binding books in which the case 

or cover is made separately and afterwards fastened upon the 

book. 
Cast Proof (c). — See Foundry Proof. 
Catch Word (c). — A word placed under the end of the last line 

on the page of some old-time books, the word being the same as 

the first word on the next page; a "carry over" or direction word. 
Center Tools (b). — Tools cut for ornamentation of center of panels 

and sides of book covers. 
Chase (c). — The iron frame in which type and other matter is 

locked up for the press, or for sending to foundry. 
Chased Edges (b). — See Gojfered Edges. 
Circuit Edges (b) — Bibles and prayer-books are sometimes bound 

with projecting covers turned over to protect the edges. These 

are circuit or divinity edges. 
Clarendon Type (c). — A bold-faced, condensed antique with a bold 

bracketed serif, used in display work. 



GLOSSARY 135 

Clasp (b). — A hook or catch for fastening the covers of a book 
together, usually at the fore-edge. 

Cloth (b). — A stiffly sized and glazed variety of cotton or linen 
cloth — usually colored and decoratively embossed. 

Cloth Boards (b). — Stiff cloth covers. 

Coated Paper (p). — An art paper coated or covered with some 
mineral substance such as china clay, etc., on which halftone 
cuts are printed. 

Collating (b). — Examining the signatures after a book is gathered, 
to see that they are arranged in correct order. 

Colophon (g). — An emblematic device, or a note, especially one 
relating to the circumstances of production, as the printer's or 
scribe's name, place, and date, put at the conclusion of a book or 
manuscript. 

Column Rules (c). — Strips of brass rule used to divide columns of 
type. 

Combination Plates (e). — Black only — Plates made by the use 
of two or more halftone or line negatives, the films stripped 
together and printed and etched on one copper or zinc plate. 
Color — Plates made by the use of a key-plate and color 
plates, either halftone or line, to be printed in two or more colors. 

Combs (b). — Instruments with wire teeth used in marbling. The 
colors being upon the surface, the comb is drawn across a portion 
in such a way that a new pattern is developed. 

Common Cloths (b) — Before receiving the final coat of color this 
cloth is dyed. The thready appearance so noticeable in the linen- 
finished cloths is less apparent in Commons on account of the 
dye and extra coloring. 

Composing Stick (c). — A flat, oblong tool, made of polished steel, 
in which the compositor places the type as he takes it from the 
case. 

Composition (c). — That part of the work of printing which relates 
to typesetting, and making up. 

Compositor (c). — One who sets type. 

Copper-thin Spaces (c). — Very thin spaces made of copper, used 
in the spacing and the justification of type. 

Copy (c). — The matter or manuscript to be set up in type by the 
printer. 

(e). — Subjects to be reproduced by the engraver. 

Corners (b). — (1) The material covering the corners of " half- 
bound " books, (2) the triangular tools used in gold- or blind- 
tooling. 

Correcting (c). — Changing wrong words, letters, types, etc., or 
adding new matter in type that has been set. 

Cowhide (b). — A thick, coarse leather made from the skin of a 
cow, commonly known as "American Russia" or "imitation 
Russia." It has a slight grain, and is tough and strong. 

Cropped (b). — When a book has been trimmed down too much, 
it is said to be cropped. 

Cross-bars (c). — The bars which divide a large chase into sections. 



136 THE AUTHOR'S DESK BOOK 

Crushed Levant (b). — Levant morocco with the grain crushed 
down till the surface is smooth and polished. 

Cut (g). — An obsolete term for an engraving. See Engraving. 

Cut-in Side Note (c). — A note set into the side of a page of printed 
matter. 

Cylinder Press (p). — A printing-machine which gives the impres- 
sion by means of a cylinder instead of a platen. 

Dandy (g). — A roller affixed to paper-making machines. The wet 
web of paper carried on the endless wire of the machine .passes un- 
der this roller and is pressed by it. It gives the laid or wove ap- 
pearance to the sheet, and when letters, figures, or other devices 
are worked in fine wire on its surface it produces the effect known 
as water-marking. 

De Luxe (g). — A term applied to books manufactured with su- 
perior materials, and with unusual care and expense. 

Dead Matter (g). — Type or plates for which there is no further 
use. 

Deckle-edges (g). — The rough, natural edges of hand-made paper. 
Deckle-edges are also formed on two edges of machine-made 
paper. They are poorly imitated by cutting or tearing paper. 

Dedication (g). — An address prefixed to a literary composition, 
inscribed to a patron or a friend as a mark of respect or affection. 

Deep Etching (e). — Additional etching made necessary to secure 
proper printing depth where this cannot be accomplished by 
routing, and usually caused by the use of dense black lines, or 
line negatives and halftone negatives being combined in one 
plate. 

Dentelle (b). — A fine, tooled border resembling lacework. 

Descending Letters (c). — Letters that descend below the type 
body, as g, p, q, etc. 

Devil (g). — The printer's errand boy or apprentice. 

Dies (b). — Brass, zinc, or heavy electro plates used for embossing 
or stamping on covers the lettering and ornamental designs. 

Display (c). — Composition in which different styles or sizes of 
type are used, such as on a title-page. 

Distributing (c). — Returning types to their respective boxes. 

Divinity Calf (b). — A dark-brown calf binding, decorated with 
blind-stamping and without gilding. 

Divinity Edges {b). — See Circuit Edges. 

Double (b). — The ornamented inside of the cover of a book, made 
with tooled leather, silk, or other material. Also termed doublure. 

Doubletone Ink (p). — An ink in which the linseed oil medium, ordi- 
narily transparent, is tinted with a lighter shade of the color. When 
this sinks into the paper, it automatically prints a second shade. 

Drop-folio (c). — A page number, placed at the bottom of a page. 

Duck (b). — Often called Canvas. A heavy cotton cloth, firmly 
woven and smooth. It is a desirable cloth for heavy books. 

Dummy (g). — Pages of a book put together so as to show the. 
general format of the finished book. 



GLOSSARY 137 

Duodecimo (g). — When a sheet of book paper is folded in twelve 

leaves it is called a duodecimo or 12 mo. 
Duograph (e). — Two halftone plates made from one copy, and 

usually printed in black and one tint, or two shades of the same 

color, the two plates made with different screen angles. 
Duotype (e). — Two halftone plates made from one copy, both from 

the same negative and etched differently. 

Edition Work (b). — Books bound in large numbers, as distinguished 
from single books or jobbing. 

Electrotype (el). — A replica of composed type, plates, etc., form- 
ing a printing surface. This is produced by covering an impres- 
sion made from the set type, etc., in wax or similar substance, 
with a galvanic coating of copper which is afterwards backed up 
by an alloy. 

Em (c). — The square of any type body. 

Embossing (g). — The process of stamping leather, cloth, or paper 
with a plate for the purpose of producing a raised or relief effect. 

Embossing Plate (e). — A plate cut or etched below the surface 
for the purpose of raising the image of the printed surface. 

En (c). — One half the width of an em body. 

Enameled Paper (g). — See Super-calendered Paper. 

End-papers (b). — Usually known to the public as fly-leaves. The 
white or colored sheets placed by the binder at the beginning 
and end of a volume, one-half being pasted down upon the inside 
of the cover. 

English (c). — The old-style name of a size of type equal to 14-point. 

English Finish Paper (g). — A finished-surface paper, with a duller 
surface than super-calendered. 

English Linen or Low Buckram (b). — A linen cloth, highly polished, 
well colored and durable. 

Engraving (g). — A picture or design cut or etched on metal or 
wood. 

Etching (e). — A process of engraving in which the plate after being 
varnished is smoked, and the design or drawing is then cut through 
the varnish, afterwards being treated with acid which eats into 
the exposed parts of the metal. 

Extra Binding (b). — A trade name for the hand-sewed and hand- 
bound book. 

Extra Cloths {b). — These in the plain finish and the various pat- 
terns are largely used for binding works of fiction, and are among 
the most expensive grades of book cloth. The fabric is heavily 
coated with color, entirely concealing the weave, producing a 
solid color surface. 

Extract (g). — A passage taken from a book or work; a quotation, 
excerpt, citation. 

Fanfare (b). — A style of binding in which there is great profusion 

and repetition of flowers, foliage, and other small ornaments. 
Figure (b). — A cut or diagram inserted in printed text. 



138 THE AUTHOR'S DESK BOOK 

Fillet (b). — A cylindrical instrument upon which simple lines are 
engraved, used in finishing. 

(c). — A rule with broad or broad and narrow lines. 

Finisher (el). — A workman who performs the final operations in 
plate-making. 

(b). — The workman who does hand-tooling, and performs the 
final operation or finishing on extra-bound books. 

Finishing (b). — The part of a binder's work which consists in 
lettering and ornamenting the cover. 

FL Pattern (b). — Embossing known as Fancy Line. A special 
design and very popular for diaries, blank books, and other 
similar lines. 

Flexible (b). — When a book is sewed on raised bands and the sew- 
ing thread passed entirely around each band. A term applied 
also to the covers of the book, as for example, full flexible or 
entirely limp or semi-flexible, when a thin board or heavy paper 
is used in making the cover. 

Floret (c). — A flower or leaf -shaped ornament. 

Fly-Leaves (b). — The leaves at the beginning and end of a book. 
See End-papers. 

Foil (b). — A special product, neither gold nor ink, used in stamp- 
ing the lettering and ornamentation on covers. 

Folder (b). — A mechanism for folding book and periodical sheets. 
A small flat piece of bone or ivory used in folding and 
in other ways. The first is more properly called a folding 
machine. 

Folio (g). — A sheet of book paper of approximately 18 x 24 inches 
size when folded in two leaves is called a folio. 
(c). — A page number. 

Follow Copy (c). — Means that the compositor should follow exactly 
the copy supplied by the author or publisher as regards punctua- 
tion, capitals, etc. 

Font (c). — A complete assortment of types of one size. 

Footnote (g). — A reference or explanation at the bottom of a page. 
As a rule this is set in type several sizes smaller than that of the 
text. 

Fore-Edge (b). — The outer side of a book. 

Form (g). — A page or number of pages or plates locked up in a 
chase ready for the press. 

Format (g). — The bibliographical term for the physical size, shape, 
and appearance of a book. 

Forwarding (b) — An expression covering the operations per- 
formed in binding a book by hand up to the time when it is sent 
to the finisher for tooling, etc. 

Foul Case (c). — When the type is badly mixed up in the case by 
distributing, the case is called foul or dirty. 

Foul Proof (c). — A proof-sheet containing the author's corrections. 

Foundry (el). — The department where the electrotypes are made 
from the types set in page form. 

Foundry Proof (c). — A proof of the type page after it has been 



GLOSSARY 139 

corrected and is ready for an electrotype cast to be made from 

it. Sometimes called Cast Proof. 
Four-color Process Plates (e). — Same as the three-color process 

(q.v.), with the addition of a gray or black plate. 
Frame (c). — A stand to support the type cases when used by the 

compositor. 
French Morocco (b). — A quality of Levant Morocco, having 

usually a less prominent grain. 
Front Matter (g). — That which precedes the main text of a printed 

book; e.g., Bastard-title, title-page, contents, preface, etc. 
Full Binding (b). — A book which is entirely covered with leather 

is said to be full-bound. 
Full Face (c). — See Bold Face. 
Full Gilt (b). — A book having the edges of the leaves gilded on 

head, front, and tail is said to be full gilt. 
Furniture (g). — Pieces of wood and metal for filling blank spaces in 

pages, and between and around pages in a form, etc. 

Galley (c). — The shallow tray, either all brass, or wood, brass, or 
zinc, made in many sizes, used to hold type after the lines have 
been taken from the composing stick; usually has a thin brass 
bottom with three perpendicular sides a little more than half an 
inch high. 

Galley Press (c). — A roller apparatus for taking proofs of type 
while on the galley. 

Galley Proof (c). — An impression from the type while still in the 
galley. 

Galley Rack (c). — A receptacle for galleys when filled with set type. 

Gathering (b). — Collecting the folded sheets of a book according 
to the order of the signatures and pagination. 

Gauge (c). — A piece of wood or metal to determine the length of 
pages. Also a piece of wood, card, or metal (usually a quad) 
pasted to the tympan sheet as a guide to feed sheets to; a feed- 
guide. 

Get In (c). — To take a word or syllable into the line by thin- 
spacing. 

Glair (6). — The whites of eggs beaten up and used in finishing and 
gilding the edges of the leaves. 

Goffered Edge (b). — An indented, decorative design on the edges 
of a book. An old fashion in bookbinding, applied to gilded or 
silvered edges. 

Gordon Press (p). — A small, platen printing-machine used for job 
printing. 

Gothic (c). — The simplest of all styles of type. It is without serif 
and evidently an imitation of the old lapidary characters of the 
Greeks and Romans. 

Grain (b). — The outer side of a piece of leather from which the 
hair has been removed. 

Great Primer (c). — The old-style name of a size of type equal to 
18-point. 



140 THE AUTHORS DESK BOOK 

Grippers (p). — On a job press, the iron fingers attached to the 

platen which take the sheet off the form after each impression; 

on printing cylinders, the apparatus which catches and carries 

the sheet around to the impression. 
Guarded Signatures (b). — Signatures with cambric pasted around 

the outside back edge for the purpose of strengthening the paper 

and binding. Often done on the first and last signatures of a 

book because of the extra strain at those points. 
Guard-line Proof (c). — See Foundry Proof. 
Guinea Edge (b). — The edge of a book rolled with a pattern 

similar to the milled edge of an old guinea coin. 
Gutters (p). — The inside back margin of a book; opposite of front 

margin. 

H Pattern (b). — Embossing on book cloth of small diamond-shaped 

figures. 
Hair-space (c). — Any space thinner than one-fifth of an em. 
Half-binding (b). — When a book is covered with leather on the 

back and corners, and the sides covered with cloth or paper, it 

is said to be half-bound, half-morocco, half-russia, half-calf, etc. 
Half-leather Binding. — A binding which consists of leather back 

and paper sides. 
Half-title (g). — The title of a volume, appearing above the text 

on the first page, or on a separate leaf immediately preceding 

the first page of text. Sometimes wrongly used synonymously 

with Bastard-title (q.v.). 
Half-tone (e). — A style of engraving, made by etching a plate of 

polished copper. 
Halftone, Direct (e). — A halftone to produce which the screen 

negative is made by direct exposure from the article itself, and 

not from a photograph or drawing. 
Halftone, Highlight 0). — A halftone plate in which the elimination 

of the dots in the highlights is accomplished by a photo-chemical 

process instead of by cutting them out with a tool. 
Halftone, Outlined (e). — A halftone with the background outside 

of the object entirely cut away, leaving a definite edge without 

shading or vignetting. 
Halftone, Outlined and Vignetted (e). — A halftone in which part 

of the background is cut away and part vignetted. 
Halftone, Square Plate (e). — A halftone in which the outside edges 

are rectangular and parallel, may be with or without single black line 

border. 
Halftone, Two-color (e). — Two halftone plates, either or both 

plates an etched plate containing parts or all of the design, to 

be printed in two contrasting colors. 
Halftone, Vignetted (e). — A halftone in which one or more of the 

edges of the object are shaded from dark tones to pure white. 
Hand Letters (b). — Letters made usually of brass, so that they 

may be heated, and affixed singly in a handle, for lettering covers, 

etc. 



GLOSSARY 141 

Hand-Tooling (e). — Any work done by use of a tool upon the plate 
to increase the contrast of the etched plate. 

Hanging Indention (c). — Where the first line of the matter is the 
full width of the measure, and indents one or more ems on the 
left all the lines following. Sometimes called " Reverse In- 
dention." 

Head and Tail (b). — Top and bottom of a book. 

Head-band (b). — A small ornamental accessory fixed to the head 
and tail of a volume inside the back to give it greater strength 
and a more finished appearance. It was originally part of the 
sewing. 

Head-piece (g). — A decorative engraving placed at the top of the 
first page of text in a book, or at beginning of each chapter. 

Height to Paper (c). — The extreme length of a type from its face 
to its foot. 

Hub (b). — A thick band on the back of a large blank book. 

Imitation Russia (b). — See Cowhide. 

Imposing Stone (c). — The flat surface upon which forms are locked 
up for the press; usually of polished stone, but now often made 
of iron. 

Imposition (c). — Arranging pages in a chase and preparing them 
in a form for the press. 

Imprint (g). — The name of the printer or publisher affixed to his 
work. 

In Boards (b). — When a book is cut after the boards are in place 
to form the sides, it is cut in boards. When cut before the boards 
are affixed it is out of boards, with projecting covers. Most 
books are bound in the latter manner. 

Indent (c). — To put a quad at the beginning of a line, as at the 
first line of a paragraph. 

Indention (c). — Indention is the leaving of a blank space at the 
beginning of a line to mark a change in the subject, or the im- 
portance of a particular portion of the matter, thus forming a 
paragraph. 

India Paper (g). — A thin, soft, absorbent paper, made in China and 
Japan, and imitated in England and the United States, used for 
the finest impressions of engravings. See also Bible India 
Paper. 

India Proof (e). — An early choice impression of an engraving taken 
on India Paper. 

Inferior Letters or Figures (c). — Small characters cast on the bot- 
tom of the line or for footnote references. 

Ink Fountain (p). — A reservoir for holding ink, and attached to 
the press. 

Inlay (b). — Cloth, paper, or leather set into the cover of a book 
flush with the surface. 

Insert (g). — An illustration or map, printed separately from the 
text, but pasted in the book. 

Inset (b). — When one sheet is placed inside of another, both being 



142 THE AUTHOR'S DESK BOOK 

folded, the first sheet is said to be inset. Also, a picture set into 
the front cover of a book is said to be an inset. 

Intaglio (g). — A word adapted from the Italian, signifying an image 
engraved into and sunken below the surface containing it; for 
example, a seal, having its design cut into its surface so that, 
when impressed in wax, the design will be in relief. 

Italic (c). — A style of type, designed by Aldus Manutius, said to 
be in imitation of the handwriting of Petrarch. 

J Pattern (&). — Embossing on book cloth of pebble design larger 
than C pattern. The figure is slightly elongated. 

Jackets (g). — The printed or unprinted wrappers folded around a 
bound book for protection. 

Jansen (b). — Without line or ornament in blank or gold. Orna- 
mentation is allowed on the inside of the cover, but absolute 
plainness is demanded on the outside, except lettering. 

Japan Paper (g). — Paper made in Japan from the bark of the paper- 
mulberry. 

Jogger (p). — An attachment to the delivery table of a press to 
straighten up sheets as they are printed. To jog up sheets is 
to straighten them up in an even pile. 

Joints (b). — The part of the cover where it joins the back on the 
inside, forming a kind of hinge. 

Justify (c). — To space out lines to the proper length and tightness. 

Keratol or Buffinette (b). — A water-proof cloth made in imitation 
of leather. It is excellent for the sides of books when there is 
much wear, as it does not show water or finger marks. It out- 
wears the majority of cloths. 

Kerned Letters (c). — Those which have part of the face projecting 
over the body. 

Kettle-stitch (b). — The stitch made at the head and tail of a book, 
a chain-stitch. 

Kip Calf (b). — Made from the skin of a heifer, and stronger than 
ordinary calf. 

L Pattern (b). — Embossing on book cloth known as Levant and 

somewhat resembling Leather. 
Laced In (b). — When the boards are fastened in a book by means 

of the bands being passed through holes in the boards, they are 

laced in. 
Laid Paper (g). — A book paper having lines water-marked or 

running through it at equal distances, the lines being made by 

the pressure of the wire screen during manufacture. 
Law Binding (b). — A plain style of leather binding used for law 

books; also called law calf. 
Law Calf (b). — Calf leather that is uncolored, in the natural state, 

pale brown. 
Law Sheep (b). — Sheepskin left wholly uncolored, used for binding 

law books. 



GLOSSARY 143 

Leaders (c). — Dots or short dashes set at intervals in lines to guide 
the eye across to figures, etc., as in a table of contents. 

Leads (c). — Thin strips of metal, cast in various thicknesses 
(2-point is most common) and less than the height of type, to 
separate lines, etc. 

Leatherette (b). — Cloth or paper prepared in imitation of leather. 

Legend (g). — See Caption. 

Letterpress Printing (p). — That done from type, as distinguished 
from presswork from plates, engravings, etc. 

Levant Morocco (b). — Morocco leather made from the skin of the 
Levant goat, having a larger grain than Turkish morocco leather. 
See Morocco. 

Library Buckram (b). — Is a special heavy weave suitable for law 
book and library bookbinding. It is dyed and covered with a 
light coat of color. 

Ligatures (c). — Two letters tied together and cast on one body, 
fi, fl, ff, etc. 

Limit Page (g). — A special page to indicate that the edition is 
limited. 

Limp (b). — Leather or cloth bindings which are flexible and bend 
easily, in distinction from boards or stiff covers. 

Line-plates (g). — Etchings in relief on plates of zinc or copper, re- 
produced from pen-and-ink drawings by photo-mechanical process. 

Linen Cloths (b). — Styles X and B are known as Linens. The 
fabric receives a light coat of color, not enough to conceal the 
weave. Their popularity is largely due to the thready appear- 
ance. 

Lining (b). — A term applied to cased books to indicate the re-en- 
forcement of head-band, super or crash, and paper which are 
applied with glue and paste to the back of books before they are 
put into covers. 

Linotype (c). — A machine for setting type, casting it in lines instead 
of single characters. 

Lithograph (c). — A print from a lithographic stone. 

Live Matter (c). — Type or other matter in preparation or ready 
for printing. 

Locking Up (c) (p). — Tightening, by means of quoins, the type 
and material in a form, so that it will lift in a solid mass. 

Logotypes (c). — Two or more separate letters or a complete word 
cast as one piece. 

Long Primer (c). — The old-style name of a size of type equal to 
10-point. 

Lower Case (c). — The case that contains the small letters, figures, 
points, and spaces. 

Maiole (b). — A binding generally composed of a framework of 
shields or medallions with a scroll design flowing through it. 

Make-up (g). — (1) The quantity of signatures or illustrations or 
books needed to complete an order or edition. (2) The layout 
of the book showing the order of pages and illustrations. 



144 THE AUTHORS DESK BOOK 

(e). — To arrange lines of type into pages of proper length, 

with page numbers, head-lines, etc. 
Making Margins (p). — Putting furniture and other material 

around and between pages in a form, so that when printed they 

will be properly imposed upon the sheet. 
Making Ready (p). — Preparing a form on the press for printing, 

by giving each part the proper impression, making overlays, 

setting gauges, etc 
Marbled Calf (b). — Calfskin so treated with acid that it resembles 

marble. 
Marbling (b). — A process of decorating sheets of paper and edges 

of books with variegated colors in irregular patterns. 
Matrix (c). — A plate of metal, usually of copper, suitably formed 

to mold the face of a type. 
Matter (e). — Composed type. Open matter is wide-leaded, or 

has many break-lines; when set by piecework it is fat. Solid 

matter is without leads; with few or no break-lines is lean in 

piecework. 
Measure (c). — The length of the type line; the width to which the 

composing stick is set. 
Metzograph (e). — A halftone made by the use of a grained screen 

instead of a cross-line screen. 
Mezzotint (g). — A copperplate engraving in which the entire sur- 
face of the plate is slightly roughened, after which the drawing is 

traced, and then the portions intended to show the high-lights 

and middle-lights are scraped and burnished, while the shadows 

are strengthened. 
Mill Board (b). — A thick, heavy card, used for making book covers. 
Minion. — The old-style name of a size of type equal to 7-point. 
Miter (c). — To chamfer or bevel the ends of rules in order that 

they may join closely in forming a border. 
Mitered (b). — When the cover of a book is ornamented with 

straight lines which meet each other without overrunning, it is 

said to be mitered. 
Modern Type (c). — A class of Roman type, of which the leading 

forms are: broad-face, Scotch-face, French-face, thin-face, bold- 
face. 
Molders (p). — The set of electrotype plates kept in reserve, from 

which to mold new plates as the workers become worn on press. 
Monotype Caster (c). — A machine for automatically casting type 

in single characters. 
Monotype Keyboard (c). — A machine for setting type. 
Morocco (b). — A leather made from goatskins; it is tanned with 

sumac. The texture is very firm though flexible. The grain, 

of which there are many varieties, is produced by rolling and 

folding; this process is called graining; genuine morocco makes 

the most durable bookbinding. 
Mosaic (b). — A design inlaid with different colors. 
Mottled Calf (b). — A light-brown calfskin, mottled by treatment 

with acid. 



/ 



GLOSSARY 145 

Negative Etching (e). — A plate from which the blacks of the origi- 
nal copy will print white and the whites will print black. 

News-tone (e). — A name sometimes given to coarse-screen half- 
tones, always etched on zinc and ■ used mostly for newspaper 
work. Also known as " quartertone." 

Nonpareil (c). — The old-style name of a size of type equal to 6-point. 

Octavo (g). — A sheet of book paper about 18 x 24 when folded in 
eight leaves is an octavo or 8vo. 

Off (p). — Signifies that all the sheets for a form have been printed. 

Off its Feet (c). — When type does not stand squarely on its 
base. 

Offset (g). — A transfer of ink or color to another page or sheet of 
paper. 

Offset Printing (g). — A method of putting ink on paper through the 
process of chemical or surface printing , rather than through the process 
of relief or impressional printing. It is based, like lithography, upon 
the principle that oil and water will not mix. The design is transferred 
to a thin zinc or aluminum plate, which takes the place of the stone in 
lithography. The transfer ink is of a greasy consistency, having an 
affinity for zinc or aluminum, and a repellent attitude toward water. 
In the operation of the press, the plate is clamped around the cylinder, 

. and two sets of rollers pass over it. The first set is moistened with 
water, and its function is to dampen the entire surface of the plate ex- 
cept where the design appears, the greasy consistency of which repels 
the water. Inking rollers pass over the plate immediately following the 
water rollers. The dampness on all parts of the plate except at the 
design points repels the greasy consistency of the ink, and allows a 
deposit of surplus ink upon the design, due to the similar consistency 
of the two ingredients. The design is then printed onto a rubber 
blanket, which is clamped around a second cylinder, and is reprinted 
or " offset " onto the paper, which passes between this second cylin- 
der and a third cylinder. 

Old-style Type (c). — Reproductions of the styles of early printers: 
the Caslon, Baskerville, French, Elzevir and Basle. 

Out (c). — A word or more omitted by mistake in composing. 

Out of Boards (b). — See In Boards. 

Out Page (b). — The first or signature page of a sheet. 

Outset (b) — A four-page sheet folded round a signature. 

Overlay (p). — A piece of paper put on the tympan to give more 
impression to a letter, line, or part of an engraving. 

Overrun (c). — To take words backward or forward from one line 
to another in correcting. 

(p). — To print beyond the number ordered. 

Oversheets (g). — The signatures or sheets remaining after an 
edition is completely bound. 

Oxford Bible Paper (g). — A thin, strong, opaque printing paper, 
made in England, on which Bibles and other large volumes are 
printed when a small bulk is desired. See also Bible India 
Paper. 



146 



THE AUTHOR'S DESK BOOK 



Packing (p). — The sheets of paper, card, etc., used to make the 
tympan; this term is applied to the covering for cylinders. 

Page (g). — One side of a written or printed leaf. 

(c). — Type, or type and illustration properly arranged for 
printing on one side of the leaf of a book. 

Page-cord (c). — Twine used to tie up pages. 

Page-Proof (c). — An impression of the type after it has been made 
up into page form. 

Parchment (g). — A paper-like sheet made from the skins of sheep 
or goat. The skins are first soaked in lime to remove the hair, 
and then are shaved, washed, dried, stretched, and ground with 
fine chalk, or lime and pumice-stone. Paper parchment, or 
vegetable parchment, is made by chemically treating ordinary 
paper. See also Vellum. 

Persian Morocco (b). — A kind of morocco made from the skins of 
hairy sheep called Persian goats. 

Photo-engraving (g). — The reproduction of engraved plates by 
means of photography, for use in printing. 

Photogravure (g). — Intaglio plates on copper for the reproduction 
of paintings, etc., in monochrome. " Photo-Intaglio" and 
"Photogravure " are essentially synonymous terms, the latter 
being the French equivalent of the former. Technically, how- 
ever, "' photo-intaglio " means a halftone engraving, the design of 
which is etched into the plate, leaving the ground (i.e., the whites) 
of the picture on the surface, instead of in relief with the whites 
etched down below the surface. The term "photogravure" 
is applied to a similar engraving in which the effects of light and 
shade are produced not by dots and stipples produced through 
a halftone screen, but by variations in depth of the depressions 
in the form of grain. In printing these plates the ink is run 
into the depressions, and the surface then wiped clean before 
being impressed upon the paper. 

Pi (c). — Type mixed up and in confusion. 

Pica (c). — A size of type equal to 12-point. It is the standard 
of measurement for leads, rules, furniture, and also for width and 
length of pages. Six picas equal, approximately, one inch. 

Picking for Sorts (c) — Taking type out of one page to use in 
another, when type is scarce. 

Pigskin (b) — Leather made from the skin of the pig. It is very 
tough and wears well. 

Planer (p). — The smooth-faced block used to level down the face 
of a form. 

Planogravure (e). — A form of engraving printed from a flat sur- 
face. 

Plate (b). — Any full-page illustration printed on paper different 
from the book is termed a plate. 
(el). — An electrotype. 

Platen Press (p). — That style of press which gives the impression 
from a flat surface — the hand press, Adams press, and nearly 
all small job presses; distinctive from the cylinder machine. 



GLOSSARY 147 

Point (c). — The unit of measurement of type, approximately fa 

of an inch. 
Point Folder (b). — A machine for folding sheets. The accuracy 

of the register is obtained by placing the perforated point holder 

of the printed sheet on the projecting pins of the folding machine. 
Points (p). — Small holes made in the sheets by the printer, which 

serve as guides in registering and folding. 

(p). — Sharp metal pins placed in the form when it is imposed, 

to pierce the sheets as they are printed so that they can be 

folded on the point-folding machine. 
Polished Buckram (b). — Its special qualities are uniformity of 

color, finish, and fabric, tensile strength and easy application of 

decoration. 
Press Proof (p). — The final proof passed for press. 
Publisher's Binding (6). — Commonly understood as ordinary 

cloth binding. 

Quadruple Imposition (p). — The imposition of the plates for 

printing so that when folded on the Quadruple Folding Machine 

the pages will follow in rotation. 
Quads (c). — Brief form of quadrat; large metal blanks used to 

fill lines and other spaces. 
Quarter-binding (b). — A binding in leather or cloth backs, with 

board sides cut flush. 
Quarto (g). — A sheet of book paper approximately 18 x 24 inches 

in size, when folded in four leaves, is called a quarto or 4to. 
Quoins (c) (p). — Wedges used in locking up forms; formerly 

made of wood and used with beveled sidesticks, but now made 

of iron in several styles. 
Quotations (c). — Large hollow quads for filling blank spaces; 

hollow metal furniture. 

Recto (b). — The right-hand page of a book. The recto of a cover 
is the front. 

Register (p). — To adjust the form, feed-guides, etc., so that the 
printing will be properly located on the sheet; to strike the 
different forms of a colored job; to make pages on both sides of 
a sheet back each other. 

(c). — The exact imposition of the type pages of a book so 
that when printed they back one another precisely, and are 
truly square. 

(b). — When two or more adjacent colors meet without in- 
fringing, they are said to be in register, otherwise out of register. 

Reglet (c). — Thin strips of wood similar to leads, 6-point and 
thicker, used as substitute for leads and slugs in large spaces. 

Relief (e). — Processes of engraving in which the dots or lines of 
the design are made to stand out so that it can be used for print- 
ing as if from type. 

Retouching (e). — (1) The act of going over a plate with a graver, 



148 THE AUTHOR'S DESK BOOK 

deepening the lines which have become worn. (2) The correct- 
ing of defects on a photographic negative or print by means of a 
pencil or fine camel's-hair brush. 

Reverse Indention (c). — See Hanging Indention. 

Revise (c). — A proof taken after corrections have been made; to 
compare a proof so taken to see that the marked errors have 
been corrected. 

Ribbon Marker (6). — A small ribbon placed in a book as a marker. 

Roan (b). — Unsplit sheepskin. 

Roller (p). — An iron rod covered with an elastic composition, to 
spread ink on the type or other printing surface. 

Roman (c). — The class of type in general use as distinguished 
from italic or fancy types. 

Roman Figures (g). — Numerals expressed by letters as distin- 
guished from those expressed by Arabic characters, e.g., I, II, 
III, etc. 

Rotary Press (p). — A printing press in which the types or plates 
are fastened on a rotating cylinder, and are impressed on a con- 
tinuous roll of paper. 

Rotogravure (g). — A recent photo-intaglio process, now coming 
into use for illustrations in newspaper magazines. It is a com- 
bination of the intaglio and the gravure processes, producing 
sunken engravings on copper rollers, which are then printed from 
on the principle of calico printing. 

Rounding (b). — See Backing. 

Routing (e). — The operation of gouging out from an electrotype 
plate that portion of the metal which is not required. 

Roxburgh Binding (b) (pronounced Roxboro). — A book bound 
with leather back, cloth or paper sides, no leather corners, with 
gold stamping on the shelf back, with gilt top, is said to be bound 
in Roxburgh binding. 

Rule (c). — A plain strip of metal type-high, used for printing rules 
and lines. 

Running Head or Title (g). — The title of a book or subject placed 
at top of each page. 

Russia Leather (b). — A fine leather prepared in Russia. Its 
preparation consists in carefully tanning with willow-bark, 
dyeing with sandal wood, and soaking in birch oil. It is of a 
brownish red color and has a characteristic odor. 

S Pattern (b). — Embossing of small diagonal lines finer than T 
pattern, giving the cloth a silky appearance, commonly known 
as Silk Pattern. 

Score (g). — To crease cardboard or heavy paper so that it will 
fold neatly at the desired place. This is often done with rules 
locked in the form, or put on afterward, running the sheets 
through the press without ink. 

Script (c) . — A style of type in imitation of handwriting. 

Sheepskin (b). — Leather made from the skin of a sheep. 

Sheet (g). — A separate piece of paper of definite size; a twenty- 



GLOSSARY 149 

fourth part of a quire. In printing, a sheet is defined by its size; 

in binding, by its fold. 
Sheet-wise (p). — Presswork in which the two sides of the sheets 

are printed from different forms. 
Shooting Stick (c). — An implement made of wood, steel, or other 

hard material, used with a mallet, to tighten up the wooden 

quoins. 
Shoulder (c). — The blank space above and below the face of a 

letter on the end of a type. 
Signature (b). — A sheet after it has been folded and is ready to 

be gathered. It usually consists of 16 pages, but may comprise 

4, 8, 16, 32, or 64 pages. 
Silk Pattern (b). — See 5 Pattern. 
Skiver (b). — The outer or grainside of sheepskin which has been 

split; much used for binding. 
Slug (c). — A thick lead. 
Slur (p). — A blurred impression. 
Small Caps (c). — Capitals of a smaller size than the regular capitals 

of a font. 
Small Pica (c). — The old name of a size of type equal to 

1 1 -point. 
Smooth Calf (b). — Plain or undecorated calf. 
Sorts (c). — The letters in the boxes of a case; out of sorts, to be out 

of any needed letter or character; runs on sorts, when copy calls 

for more than the usual number of any particular letter. 
Spaces (c). — The small blanks used to separate words, etc. 
Split Leather (b). — Leather split by machinery. 
Sprinkled Calf (6). — Calfskin treated with acid so as to look as if 

it had been sprinkled with a dye. 
Sprinkled Edges (b). — Edges of books that are decorated with 

small dots or specks of color, sprinkled on from a brush. 
Stained Edges (b). — Edges which are colored bj' a process of coat- 
ing or covering which combines with the paper to be colored. 
Stamping Die (e). — A relief plate engraved on brass or zinc for 

stamping book covers or similar surfaces. 
Stand (c). — The common wooden frame with sloping top upon which 

type cases are placed; the lower part usually has a rack for holding 

extra cases. 
Steel or Copperplate Engraving (c). — A method of making plates 

for printing by cutting, scratching or corroding a plate. 
Stereotype (g). — The duplicate, cast in one piece of type metal, 

of the face of types or cuts composed for printing. There are 

three processes: (a) The plaster process; (b) the clay process; 

(c) the papier-mache process. 
Stipple (e). — A method of engraving by which dots or punctures 

are used instead of lines. 
Stone Hand (c). — One who is chiefly employed in imposing, and 

other work done on the stone. 
Stone Proof (e). — (1) An impression taken from an engraved plate 

or lithographic stone, to prove the condition and progress of the 



150 THE AUTHORS DESK BOOK 

engraving. (2) An impression taken from types or cuts, made 

up for electrotyping. 
Super (b). — A thin, loosely woven cotton cloth, glued and starched, 

which is used for gluing onto the backs of books, to hold the 

signatures by extending over to the inside of the cover, to hold 

the book and cover together. 
Super-calendered Paper (g). — A class of paper to which a glazed 

surface is given by rolling or calendering. 
Superior Letters or Figures (c). — Small characters cast on the top 

of the line, used for footnote references, etc. 
Swash Letters (c). — The name given to a style of italic capital 

letters with tails and flourishes, much used in the seventeenth 

century. 

T Pattern (b). — Embossing of transverse parallel lines. This is a 
favorite pattern, and is used more than any other. 

Tail-piece (c). — An ornament placed in a short page at the end 
of a chapter, article, or volume. 

Take (c). — When copy is divided among several compositors, 
each part is a take. 

Tapes (b). — Strips of tape extending over the back and onto the 
boards to strengthen the binding. (2) Strips of cloth placed 
between the covers and ends of a stitched book to strengthen 
the book and give it flexibility. 

Text (c). — The type used in the main part of a page; also applied 
to some kinds of black-letter. The main body of matter in a 
book or manuscript in distinction from notes or other matter 
associated with it. 

Three-color Process Plates (e). — Printing plates, produced from 
colored copy or objects, to reproduce the picture or object in 
its original colors by a photo-chemical separation of the primary 
colors, and etched halftone plates to reproduce each separate 
color, usually printed in yellow, red, and blue. An approximate 
result may be obtained from one-color copy by using the skill 
of the workman in securing the color-values on the etched plates. 

Three-quarter Leather Binding (b). — A binding which consists of a 
leather back of extra width, with leather corners and paper or 
cloth sides. 

Three to Em (c). — A space one-third of an em in thickness. 

Token (p). — A measure or unit of presswork. The New York 
token is 250 impressions of one form; the Boston token is 500 
impressions. 

Tooled Edges (ft). — See Gofer ed Edges. 

Tooling (b). — To ornament or give a final shape by means of a 
special tool, especially when the mark of the tool is intentionally 
left visible. 

Tree Calf (b). — Calfskin so treated as to resemble the trunk and 
branches of a tree. 

Turkey Morocco (b). — Made of goatskin from Turkey. Strong, 
durable, and expensive. 



GLOSSARY 151 

Turn for Sorts (c). — To put another type of the same size face 
downward (so that its foot will show a black spot on proof) in the 
place of a character that is missing. 

Two to Em (c). — The half of an em quad, known as the en quad. 

Tympan (p). — The sheets, cards, etc., that cover the platen or 
cylinder, on which the paper is placed for printing. The cloth- 
covered frame attached to the bed of a hand-press. 

Type-high (e). — Type of the standard of height. 

Type-high to Paper (c). — Type above the standard of height. 

Underlay (p). — A piece of paper or card placed under the type, 
electro, or engraved block, to increase the impression. 

Upper Case (c). — The case in which the capitals, small capitals, 
signs, and " peculiars " are placed. 

Uterine Vellum (g). — A vellum made from the very thin skins of 
still-born or unborn calves. 

Vellum (g). — The skins of calves prepared by long exposure in a 
lime-bath and by repeated rubbings with a burnisher. See also 
Parchment. 

Vellum Finish (b). — The smooth natural surface of an unembossed 
cloth. 

Verso (b). — The left-hand page of a book. Of a cover, the back 
or reverse side. 

Vignette (g). — (1) In old manuscripts an initial letter decorated with 
leaves. (2) A head- or tail-piece of a book. (3) (e). — A draw- 
ing or other illustration having a background that gradually 
shades off and merges into the ground on which the print is made. 

Water-mark (p). — See Dandy. 

Web Machine (p). — (1) A cylindrical printing-press in which the 

paper is carried forward to the impression cylinder by means 

of tapes. (2) A printing-machine in which the paper is carried 

forward in a continuous roll or web. 
Whipstitch (b). — To sew with an over-and-over stitch. 
Work-and-Turn (p). — When all the pages on a sheet are imposed 

in one form, or half-sheetwise, the sheet is turned and printed on 

the second side, thus giving two copies of the work when the sheet 

is cut. 
Workers (p). — The set of electrotype plates irom which editions 

are printed. 
Wove Paper (g). — Paper which does not show the wire mark as in 

laid paper. The screen is woven in like cloth. 
Wrappers (g). — See Jackets. 
Wrong-font (c). — A letter or character of wrong size or style used 

in composition; in proofreading written w.f. 

Zinc Plate (g). — A style of engraving etched with strong acid on 
a sheet of polished zinc. 



INDEX 

[In this index no reference is entered from the Glossary of Terms, the 
alphabetical arrangement of which renders such reference superfluous.] 



A\ rule for indexing, 115. 

Abbreviations, rule for index- 
ing, 130. 

Abu, (Arabic), rule for index- 
ing, 108. 

Academies, learned, rule for 
indexing, 121. 

Addenda, method of attaching 
to manuscript, 11. 

Addresses: subject to copy- 
right, 32, 36; copyright 
application form for, 47; 
rule for indexing, 118. 

Ad Interim Copyright: 42, 43; 
application form for, 47. 

Advance orders, publisher's 
dependence upon, 8. 

Advertising: its amount de- 
pendent on continued rela- 
tions of author and publisher, 
5, 18; its part in selling 
books, 8, 9; exchanged for 
second serial rights, 15; in 
exclusive control of pub- 
lisher, 21. 

Advertising card, 88, 89. 

Affidavit: required for copy- 
right of books, 35; not re- 
quired for copyright of 
periodicals, 36. 

Ahu, (Arabic), rule for index- 
ing, 108. 

Alphabetical arrangement, of 
index, 124-130. 

Alterations, author's. See Au- 
thor's Alterations. 



Alumni associations, rule for 
indexing, 119. 

Am, rule for indexing, 115. 

Ap, rules for indexing, 115, 
127. 

Appellatives, Latin, rule for 
indexing, 117. 

Appendix, 88. 

Application forms for copy- 
right, 38, 40, 41, 46-49, 51. 

Arabic names, rules for index- 
ing, 108. 

Arbitration, between author 
and publisher, 23. 

Art, works of: subject to copy- 
right, 32; must bear notice 
of copyright, 34; copyright 
application form for, 48. 

Assignment, of copyright, 43- 
45, 52. 

Atlas, English paper size, 96. 

Auf, (Aufm), rule for index- 
ing, 115. 

Aus, (Aus'm), rule for index- 
ing, 115. 

Austria, copyright relations 
between U. S. and, 33, 53. 

Author, the: relations to pub- 
lisher of, 3; relations to 
literary agents of, 4, 63, 64; 
value of publisher's advice 
to, 5; advantage of remain- 
ing with one publisher, 5, 
18; value of reputation, 5, 
9, 16; advised against pub- 
lishing fiction at own ex- 



iS4 



INDEX 



pense, n; making contract 
with publisher, 12-24; 
retention of rights: dramatic, 
13, moving-picture, 14, 
serial, 14, English and 
Colonial, 16, 17; rates of 
royalty paid to, 16; gives 
option on subsequent books 
to publisher, 18; form of 
contract with publisher, 19- 
24; guarantees his author- 
ship, 20; must pay for ex- 
cessive alterations, 20; agrees 
to effect renewals of copy- 
right, 21; terms for purchase 
of copies of his own books, 
22; division of profits from 
sale of rights, 22; terms for 
dissolution of contract, 23; 
agrees to arbitrate differ- 
ences with publisher, 23; 
rendering of royalty accounts 
by publisher to, 22, 23, 28- 
30; "don'ts" for moving- 
picture writers, 28; copy- 
right protection for alien, 
33; relation to magazines of, 
58-63; importance of copy- 
right notice on magazine 
articles to, 58-61; commis- 
sion paid to literary agent 
by, 64; advantage of knowl- 
edge of printing to, 65; 
expense of author's altera- 
tions to, 65, 66, 68, 76, 77; 
reading proofs by, 67, 69, 
77-80; preparation of manu- 
script by, 67, 68; index 
should be made by, 98, or ex- 
amined in manuscript by, 99. 
Author's alterations: clause in 
contract about, 15, 20; ex- 
pense of, 65, 66, 76; way to 
avoid, 66, 68, 77. 



Authors' League, the: advice 
to authors on moving-pic- 
tures, 25-27; on magazine 
contributions, 58-61. 

Babu, rule for indexing, 109. 

Banks, rule for indexing, 123. 

Baroness, rule for indexing, 112. 

Bastard-title: may be omitted, 
70; place in volume, 88; 
described, 89, 93. 

Belgium, copyright relations 
between U. S. and, 33, 53. 

Berne, the convention of, 53. 

Bey, rule for indexing, 109. 

Bibliography, 88. 

Bin, (Arabic), rule for index- 
ing, 108. 

Binding, 87. 

Bishops, rules for indexing, 
109, 125, 126. 

Blind, works for the, 36. 

Bodleian Library, Oxford: 
British copyright depository, 
55; rule for indexing, 119. 

Book, the: requirements for 
acceptance by "reader," 6; 
by publisher, 7; published 
at author's expense, 11, 12; 
subject to copyright, 32; 
must bear notice of copy- 
right, 34; copyright applica- 
tion form for, 46, 47; me- 
chanics of, 65-87; arrange- 
ment of, 88-97; layout of, 
88-93; basic sizes of, 94; 
margins of, 96, 97; titles of, 
to be indexed, 100. 

Breviaries, rule for indexing, 
118. 

British Museum, the: British 
copyright depository, 55, 56; 
rules of, for indexing noble- 
men, non. 



INDEX 



155 



Buildings, rule for indexing, 
123. 

Cambridge, Eng., University 
Library of, British copy- 
right depository, 55. 

Canada: copyright in, 54; 
public holidays in, 55. 

Canons, rule for indexing, 109. 

Capes, rule for indexing, 115. 

Catechisms, rule for indexing, 
118. 

Cathedrals, rule for indexing, 
123. 

Chile, copyright relations be- 
tween U. S. and, 33, 53. 

China, copyright relations be- 
tween U. S. and, 33, 53. 

Churches, rule for indexing, 
122. 

Cinemetograph. See Moving- 
pictures. 

Cities, rule for indexing ancient 
and modern names of, 116. 

Cobden-Sanderson, T. J., 
quoted, 90. 

College textbooks, rate of roy- 
alty paid on, 17. 

Colleges: rules for indexing, 
119, 121; local societies of, 
rule for indexing, 119. 

Colophon, 90. 

Columbia, English paper size, 96. 

Common-school books: rate of 
royalty paid on, 17. 

Compilations, subject to copy- 
right, 32, 33- 

Composite works, subject to 
copyright, 32. 

Composition, of type, 76. 

Compound names, rules for 
indexing, 113, 114, 127, 128. 

Confessions of faith, rule for 
indexing, 118. 



Congresses, of nations, rule for 
indexing, 117. 

Contents, table of: place in 
volume, 88; described, 92; 
compared with index, 98. 

Contract (between author and 
publisher) : difference in 
terms, 9; new elements in 
making, 12-14; blank form 
of, 19-24; clauses in, re- 
lating to: dramatic rights, 

13, 20, moving-picture rights, 

14, first serial rights, 14, 
second serial rights, 15, 
author's alterations, 15, 16, 
20, 21, rates of royalty, 16, 
British and Colonial rights, 
17, "option clause," 18, 21; 

payment of royalty, 21, 

22, account of royalties, 22, 

23, terms for dissolution of, 
23, arbitration clause, 23. 

Contributions, to periodicals: 
subject to copyright, 36; 
copyright application form 
for, 47. 

Contributor. See Author. 

Convents, rule for indexing, 
123. 

"Copy." See Manuscript. 

Copyright: mentioned in con- 
tract between author and 
publisher, 19-21, 23; author 
agrees to effect renewal of, 
21; duty of publisher to 
secure protection of, 21, 31; 
duty of publisher to effect 
renewals of, 31; definition of, 
31; usually taken out in 
name of publisher, 31; work 
must belong to certain classes 
to secure, 32, 33; relations 
with foreign countries re- 
garding, 33, 53; notice of, 



156 



INDEX 



as required by U. S. law, 34, 
88, 91 ; notice of, not required 
in England, 56; how to 
secure in U. S., 34-42; 
deposit of copies required 
for, 35; manufacturing re- 
quirements to secure, 35, 
36, 43; fees for, 35, 37, 38, 
40, 41; remittances of fees 
for, 39; ad interim protec- 
tion, 42, 43; assignment of 
43-45; duration of, 45, 46; 
application forms for, 38, 
40, 41, 46-49; renewal of, 
45, 46, 49; practical proce- 
dure to effect, 49-53; inter- 
national, 53, 54; in Great 
Britain, 53-56; special regis- 
tration in foreign countries, 
not required for, 54 n.; avoid 
publication on public holi- 
days, 55; deposit of copies 
of work to secure British, 55, 
56; publication in England 
must be bona fide, 56; of 
magazine articles, 59-61. 

Copyright office, only for 
registration, 31. 

Copyright notice: must appear 
on American books, 34, 37, 44, 
50; location of, 34, 60, 88, 
91; not necessary on English 
books, 56. 

Corporations, rule for index- 
ing, 118, 120, 121. 

Costa Rica, copyright relations 
between U. S. and 33, S3- 

Countries, rule for indexing, 
117. 

Creeds, rule for indexing, 118. 

Cross-reference, to be indexed 
in case of: saints and friars, 
108; East Indian names, 
109; married women, no; 



noblemen, no; foreign com- 
pound names, 113, 114; 
places in foreign languages 
or vernacular, 115; events, 
117; congresses of nations, 
117; treaties, 117, 118; 
local religious bodies, 118; 
university names and so- 
cieties, 121; learned societies, 
121; observatories, 122; ex- 
positions, 122; state societies, 
122; buildings, 123; similar 
headings, 124, 125. 

Crown, English paper size, 95, 
96. 

Cuba, copyright relations be- 
tween U. S. and, 33, 53. 

Cutter's Rules for a Dictionary 
Catalogue, mentioned, 104. 

Cyclopaedic works, subject to 
copyright, 32. 

Da, (Dagli, Dai, Dal, Dalla, 
Dalle), rules for indexing, 
114, 115. 

Das, rule for indexing, 115. 

De, (D\ Des), rules for index- 
ing, 114, 115, 127, 129. 

De La, rule for indexing, 
114. 

Dedication: place of, in book, 
88; described, 92. 

Definitions, to be indexed, 100. 

Degrees, collegiate, place in 
indexed heading, 116. 

Del, (Degli, Dei, De,) Delia, 
Delle), rules for indexing, 
114, 115. _ 

Demy, English paper size, 95, 
96. 

Denmark, copyright relations 
between U. S. and, 33, 53. 

Deposit, of works for copy- 
right: in the U. S., 35, 36, 



INDEX 



157 



38-42, 52, 60; in England, 
55, 56. 

Designs: subject to copyright, 
32; must bear notice of 
copyright, 34; copyright ap- 
plication form for, 48; for 
book covers, 80. 

Dies, for stamping book covers, 

85- 

Directories, subject to copy- 
right, 32. 

Dr., rule for indexing, 130. 

Dos, rule for indexing, 115. 

Double Crown, English paper 
size, 96. 

Double Foolscap, English paper 
size, 96. 

Double Post, English paper 
size, 96. 

Double Pott, English paper 
size, 96. 

Dramatic rights: reservation 
of, by author, 13; division 
of profits from, 13. 

Dramatic works: subject to 
copyright, 32, 33, 36; copy- 
right application form for, 

47- 

Dramatization, of novels, 13. 

Drawings: subject to copy- 
right, 32, 36; must bear 
notice of copyright, 34; 
copyright application form 
for, 48. 

Du, rules for indexing, 114, 
115, 127. 

Dummies, traveler's, 8. 

Duration, of copyright, 45, 46, 
52, 53- 

Dutch prefixes to surnames, 
rules for indexing, 114, 115. 

East Indian names, rules for 
indexing, 109. 



Ecclesiastical dignitaries, rules 
for indexing, 109. 

Edinburgh, Library of the 
Faculty of Advocates, British 
copyright depository, 56. 

Edition de luxe, must be de- 
posited for British copyright, 
56. 

Editor the: advice to author 
from, 5; dealings with, 62, 63. 

Elisions, rule for indexing, 130. 

Emir, rule for indexing, 109. 

Emperors, rules for indexing, 
108, 124. 

England: sale of American 
books in, 17; copyright of 
American books in, 54-56; 
recent copyright legislation 
in, 54-56; public holidays in, 
55; printed sheets shipped 
from U. S. to, 91 n.\ paper 
sizes in, 95, 96. See also 
Great Britain. 

English rights, 17. 

Englishwomen, indexing titles 
of honor of, 111-113. 

Engraving, methods and pro- 
cesses explained, 81-85. 

Epithets, distinctive, rule for 
indexing, 116. 

Estimating, number of words in 
manuscript, 10, 69-71. 

Events, rules for indexing, 100, 
117. 

Expositions, rule for indexing, 
122. 

Extension, of copyright, appli- 
cation form for, 49. 

False-title. See Bastard-title. 
Family name. See Surname. 
" Feature films," 26, 27. 
Fees, for copyright, 35, 37, 38- 
41, 45, 52, 60. 



158 



INDEX 



Feigl, Dr., quoted, 109. 

Fiction, rates of royalty on, 16. 

Figures, rule for indexing, 130. 

Firms, business, rules for in- 
dexing names of, 120. 

Fitz, rules for indexing, 115, 
127. 

Foolscap, English paper size, 
95, 96. 

Forename, rules for indexing, 
108, 109, 115, 120, 121, 125. 

Forts, rule for indexing, 115. 

Foundry proofs. See Proofs. 

France, copyright relations be- 
tween U. S. and, 33, 53. 

Franking, of copies for copy- 
right, 35, 52. 

Fraternities, Greek letter, rule 
for indexing, 119. 

Freemasons, rule for indexing, 
119. 

French names, rules for index- 
ing, 113, 114, 115. 

French prefixes to surnames, 
rules for indexing, 114, 115. 

Friars, rule for indexing, 108. 

Front matter, of book: esti- 
mating, 69; described, 88- 
94. 

Galleries, rules for indexing: 
national or local, 121; private, 
123. 

Galleys. See Proofs. 

Gazetteers, subject to copy- 
right, 32. 

German prefixes to surnames, 
rules for indexing, 114, 115. 

Germany, copyright relations 
between U. S. and, 33, 53. 

Glossary, 88. 

Gottingen, Academy of, rule 
for indexing, 121. 

Great Britain: copyright rela- 



tions with U. S., S3, 53-57; 
public holidays in, 55. See 
also England. 

Greek, personal names, ar- 
rangement of in index, 126. 

Guatemala, copyright relations 
between U. S. and, 33, 53. 

Guilds, rule for indexing, 120. 

Half-title: place in volume, 
88; described, 93. See also 
Bastard-title. 

High- school books, rate of 
royalty paid on, 17. 

Historical Societies, state, rule 
for indexing, 122. 

Hoernen, Arnold Ther, first 
use of title-page by, 90. 

Holiday, publication must not 
take place on public, 55. 
See Canada and England. 

Honduras, copyright relations 
between U. S. and, 33, 53. 

Hours, religious, rule for index- 
ing, 118. 

Hungary, copyright relations 
between U. S. and, 33, 53. 

Hyphened words, rule for in- 
dexing, 128. 

Ibn, (Arabic), rule for index- 
ing, 108. 

Illustrations: for book, usually 
made for publisher, 80, 81; 
place in book for list of, 88, 
92. _ 

Imperial, English paper size, 
96. 

In (Im), rule for indexing, 115. 

Incomplete names, rule for 
indexing, 128. 

Index: place in book of, 88; 
importance of, 98; author 
should prepare or examine 






INDEX 159 

manuscript of, 98, 99; quali- Islands, rule for indexing, 115. 

fications of indexer, 98, 99; Isle, rule for indexing, 115. 

what to index, 100; plan of Irish prefixes to surnames, 

work to be made before rule for indexing, 115. 

starting to make, 101, 102; Italian prefixes to surnames, 

procedure, 102, 103; ar- rules for indexing, 114, 115. 

rangement of references under Italy, copyright relations be- 

entries, 104; arrangement tween U. S. and, 33, 53. 

of entries, 104, 105; speci- . . 

mens of, 106, 107; rules for J a P an ' copyright relations be- 

indexing adjective headings, tween U " S ' and ' 33, 53- 

105; Christian names, 108; Kings, rules for indexing: 

surnames, 109-113; titles, names of, 108, 124; consorts 

110-113; compound names, f II y # 

113; surnames preceded by Knight, rule for indexing wife 

prefixes, 114, 115; geographi- f II2 

cal names, 1 15-1 1 7 ; epithets, Knighthood, orders of, rules for 

116; titles and degrees, 116, indexing, 118, 119. 

117; parties and sects, 118; Korea, copyright relations be- 

corporations, 118, 120; orders tween tj g, ^^ 33j 53 . 
of knighthood, 118; colleges 

and professional schools, 119; Lakes, rule for indexing, 115. 
libraries, 119; societies, 119, La, rules for indexing, 114, 
128; alumni associations, 115, 127. 
119; schools, 119, 120, 123; Latin, personal names, arrange- 
universities, 121, 122; li- ment of in index, 126. 
braries, museums, and gal- Le, {L\ Les), rules for indexing, 
leries, 1 21-123; observatories, 114, 115, 127, 129. 
i2i, 122; expositions, 122; League, the Authors'. See 
state societies, 122; churches Authors 1 League, the. 
and religious bodies, 122, Lectures: subject to copyright, 
123; monasteries and con- 32, 36; copyright applica- 
vents, 123; cathedrals, 123; tion form for, 47. 
banks, 123; associations, 123; Leipzig, Academy of, rule for 
buildings, 123; pseudonyms, indexing, 121. 
128; incomplete names, 128; Libraries, rules for indexing: 
numerals, 130; abbrevia- of colleges, 119, 121; na- 
tions, 130; arrangement of tional or local, 121; private, 
numerous similar headings, 123. 

124-130; alphabetical ar- Library of the Faculty of Ad- 

rangement, 124-130. vocates, Edinburgh, British 

International copyright, 53-57. copyright depository, 55. 

Introduction, place in book of, Limit notice: place in volume 

88, 93. of, 88; described, 93. 



i6o 



INDEX 



Lisbon, Academy of, rule for 

indexing, 121. 
Literary agent, the, value of 

services to author, 4, 63, 64. 
Liturgies, rule for indexing, 

118. 
Luxemburg, copyright relations 

between U. S. and, 33, 53. 

Mac, (M\ Mc), rules for in- 
dexing, 115, 127. 

Mme., rule for indexing, 130. 

Mile., rule for indexing, 130. 

Madrid, Academy of, rule for 
indexing, 121. 

Magazine, the, relations with 
contributors, 58-63. 

Maid of honor, rule for index- 
ing, 112. 

Manifestoes, rule for indexing, 
118. 

Manuscript: offered competi- 
tively, 4; decision of 
" readers" upon, 6; require- 
ments of publisher, 7 ; advice 
about submitting, 10, 61, 62; 
estimating number of words 
in, 10, 61, 67; postage rates 
on, 11, 61; delivery of, 
mentioned in contract, 20; 
preparation by author of, 
67, 68. 

Maps: subject to copyright, 
32; must bear notice of 
copyright, 34; copyright ap- 
plication form for, 48. 

Marchioness, rule for indexing, 
112. 

Margins, of book, comments 
on, 71, 72, 96, 97. 

Masonic orders, rule for index- 
ing, 119. 

Medium, English paper size, 
95. 96. 



Mexico, copyright relations 
between U. S. and, 33, 53. 

Missals, rule for indexing, 118. 

Mr., rule for indexing, 130. 

Mrs., rule for indexing, 130. 

Models: subject to copyright, 
32; must bear notice of 
copyright, 34; copyright ap- 
plication form for, 48. 

Monasteries, rule for index- 
ing, 123. 

M., rule for indexing, 130. 

Motion-pictures. See Moving- 
pictures. 

Moving-pictures: add new 
problems for publisher and 
author, 14, 24; rights, 14, 
22, 24-28; returns from, 25; 
royalty basis advised for, 
25, 26, 28; exchanges, 26, 
27; trade conditions, 27; 
subject to copyright, 32, 37; 
how to secure copyright of, 
40-42; copyright applica- 
tion form for, 48. 

Mountains, rule for indexing, 

115. 

Museums, rules for indexing: 
national or local, 121; pri- 
vate, 123. 

Munich, Academy of, rule for 
indexing, 121. 

Musical compositions: subject 
to copyright, 32, 36; must 
bear notice of copyright, 34; 
copyright application form 
for, 48. 

Netherlands, the, copyright 
relations between U. S. and, 

33, 53- 
Newspapers: secure second 
serial rights, 15; subject to 
copyright, 32; must bear 



INDEX 



161 



notice of copyright, 34; 

copyright application form 

for, 37. 
Nicaragua, copyright relations 

between U. S. and, 33, 53. 
Noblemen, rules for indexing: 

British, 110-113, 116, 117; 

foreign, 116; in general, 124, 

125. 
Norway, copyright relations 

between U. S. and, 33, 53. 
Numeral figures, rule for in- 
dexing, 130. 

0', rules for indexing, 115, 127. 

Observatories, rule for index- 
ing, 121, 122. 

Offices, religious, rule for in- 
dexing, 118. 

" Option clause" in contract, 
18. 

Oriental names, rules for index- 
ing, 108, 109. 

Oxford, Bodleian Library, Brit- 
ish copyright depository, 55. 

Page proofs. See Proofs. 

Paintings: subject to copy- 
right, 36; copyright applica- 
tion form for, 48. 

Paper: comments on, 85, 86; 
English sizes of, 95, 96. 

Parishes, rule for indexing, 
122, 123. 

Parties, rules for indexing, 
118. 

Pasha, rule for indexing, 109. 

Patronymics, rule for indexing, 
116, 117, 126. 

Periodicals: subject to copy- 
right, 32; must bear notice 
of copyright, 34; contribu- 
tions to, 36, 39; how to 



secure registration of copy- 
right of, 37-39; copyright 
application form for, 47. 

Photographs: subject to copy- 
right, 32, 36, 37; must bear 
notice of copyright, 34; 
copyright application form 
for, 48. 

Photoplays, motion-picture, 
subject to copyright, 32, 
37; copyright application 
form for, 48. 

Pictorial illustrations: subject 
to copyright, 32; must bear 
notice of copyright, 34; copy- 
right application form for, 
48. 

Places, rule for indexing, 117. 

Plastic works: subject to copy- 
right, 32, 36; must bear 
notice of copyright, 34; 
copyright application form 
for, 48. 

Plates, electrotype, described, 
80. 

Platforms, political, rule for 
indexing, 118. 

Popes, rules for indexing, 108, 
124. 

Portugal, copyright relations 
between U. S. and, 33, 53. 

Portuguese prefixes to sur- 
names, rules for indexing, 
114, 115. 

Possessive case, rule for ar- 
rangement in index of, 126. 

Post, English paper size, 95, 
96. 

Pott, English paper size, 95, 
96. 

Prayer-books, rule for index- 
ing, 118. 

Preface: place in book of, 88; 
described, 92. 



l62 



INDEX 



Prefixes, to surnames, rules for 
indexing, 114, 115, 125-127. 

Presswork, comments on, 70, 
86. 

Princes, and Princesses, rules 
for indexing, 108, 124. 

Prints: subject to copyright, 
32; must bear notice of 
copyright, 34; copyright ap- 
plication form for, 48. 

Professional schools, rule for 
indexing, 119. 

Progressive royalty. See Roy- 
alty. 

Proofreader, duties of, 77, 78, 
80. 

Proofs: mentioned in contract, 
20; number usually furnished 
by printer, 67, 77-80; proof 
marks, 79. 

Proper names, rule for index- 
ing, 100. 

Pseudonyms, rule for indexing, 
128. 

Publication: act of, 50; simul- 
taneous, necessary in Great 
Britain, 54, 55; must avoid 
public holidays, 55; in 
England must be bona fide, 
56. 

Publications, rule for indexing, 
118. 

Publisher: relations with au- 
thor, 3; personality of, 6; 
decision on merits of manu- 
script, 7; creates advance 
demand for book, 8; han- 
dling of subsidized books, 11, 
12; making contract with 
author, 12-24; reservation 
of rights by: dramatic, 13, 
moving-picture, 14, serial, 
14, 15, English and Colonial, 
16, 17; securing option on 



author's subsequent work, 
18; form of contract with 
author, 19-24; protected 
against infringement, 20; 
division of profits from sale 
of rights, 22; rendering 
account of royalties, 22, 23, 
28-30; terms for dissolution 
of contract, 23; agreement 
to arbitrate differences with 
author, 23; duty of, to secure 
coypright protection, 21, 31. 

Publishing: at author's ex- 
pense, 11, 12; subsidized, 11. 

Pundit, rule for indexing, 109. 

Queens, rules for indexing, 108, 
117 

Rabbis, Jewish, rules for in- 
dexing, 108. 

Raised characters, works in, 36. 

"Readers": judgment of, on 
manuscripts of books, 6; 
may be prejudiced by poor 
copy, 10. 

Refusal, on subsequent books 
given to publisher, 18. 

Register of Copyrights, men- 
tioned, 39, 42, 52, 60. 

Registration, of copyright not 
required in foreign countries, 
54 n. 

Religious denominations, rule 
for indexing, 118. 

Renewal, of copyright, 45, 46, 
52, 53; copyright applica- 
tion form for, 49. 

Retail price, of book, basis of 
royalty, 16, 17, 21. 

Rights: dramatic, 13, 20, 22; 
moving-picture, 14, 20, 22, 
24-28; first serial, 14, 22; 
second serial, 14; English 



INDEX 



163 



and Colonial, 17; given to 
publisher by contract, 19, 20; 
of translation, 19, 22; notice 
regarding reservation of, 57; 
magazine, 59-61. 

Rivers, rule for indexing, 115. 

Royal, English paper size, 95, 
96. 

Royalty: effect of sale of serial 
rights upon, 15; rates of, on 
fiction, 16; rates of, on text- 
books, 17; "progressive," 
17; terms of, in contract, 21, 
22; advance payment of, 
22; basis of, advised for 
moving-picture writers, 25, 
26; reports on, 22, 23, 28- 
30. 

St. and Ste., rules for indexing, 
115, 127, 130. 

St. Petersburg, Academy of, 
rule for indexing, 121. 

Saints, rules for indexing, 108, 
124. 

Salvador, copyright relations 
between U. S. and, 33, 53. 

Sample page, preliminary to 
setting book in type, 69, 71. 

Schoolbooks, rates of royalty 
on, 17. 

Schools, rules for indexing: 
public, 119, 120; profes- 
sional, 119; private, 123. 

Scotch prefixes to surnames, 
rules for indexing, 115. 

Sculpture: subject to copy- 
right, 32; must bear notice 
of copyright, 34; copyright 
application form for, 48. 

Sects, rules for indexing, 118. 

Serial rights, first, 14, 22; 
second, 14, 15. 

Sermons: subject to copyright, 



32; copyright application 
form for, 47. 

Short-story writer, the, rela- 
tion to magazine of, 58-63. 

Sobriquet, rule for indexing, 
109: 

Societies, rules for indexing: 
local college, 119; inter- 
collegiate, 119; alphabetical 
arrangement of, 128. 

Sovereigns, rules for indexing, 
108, 124. 

Spain, copyright relations be- 
tween U. S. and 33, 53. 

Sri, rule for indexing, 109. 

Subsidized publications, n, 12. 

Suffixes (titles), to names, 
place in indexed heading, 
116. 

Super Royal, English paper 
size, 96. 

Surnames, rules for indexing: 
in general, 109, no, 120, 121; 
of noblemen, no, in; pre- 
ceded by prefix, 114, 115, 
126, 127. 

Sweden, copyright relations 
between U. S. and, 33, 53. 

Switzerland, copyright relations 
between U. S. and, 33, 53. 

Ten, rule for indexing, 115. 
Ter, rule for indexing, 115. 
Textbooks, rates of royalty on, 

17. 

The, rule for arrangement of, 
in index, 129. 

Thor, rule for indexing, 115. 

Title-entries, rules for arrange- 
ment of, in index, 129. 

Title-page, 88, 90, 91; first 
used by Arnold Ther Hoer- 
nen, 90. 

Titles: of nobility, rules for 



164 



INDEX 



indexing, 110-113, 116, 117, 
125; prefixes to names, 
place in indexed headings, 

116, 125. 

Titles, of books, stories, and 
periodicals, not subject to 
copyright protection, 39, 46. 

Translation: right of, retained, 
19, 22; notice of reservation, 
57- 

Traveling salesmen, method 
of selling books by, 8. 

Treaties, rule for indexing, 

117, 118. 

Trinity College, Dublin, Library 
of, British copyright deposi- 
tory, 56. 

Tunis, copyright relations be- 
tween U. S. and, 33, 53. 

Type: names and samples of, 
72-76; number of words in 
different sizes of, 70, 71; 
setting of, 76. 

Umm, (Arabic), rule for index- 
ing, 108. 

Union, International Copy- 
right, 53, 54- 

United States, the: reciprocal 
copyright relations with for- 
eign nations, 33, 53; not a 
member of International 
Copyright Union, 53, 54; 



simultaneous publication in, 
54, 55^ 
Universities, rules for indexing: 
of Europe, and Central and 
South America, 121; of the 
United States, 122. 

Van, rules for indexing, 114, 

115, 127. 
Vander, rule for indexing, 115. 
Van't, rule for indexing, 115. 
Ver, rule for indexing, 115. 
Vienna, Academy of, rule for 

indexing, 121. 
Viscountess, rule for indexing, 

112. 
Von, (Vom), rules for indexing, 

114, 115. 

Wales, National Library of, 

British copyright depository, 

56. 
Welsh prefixes to surnames, 

rule for indexing, 115. 
Women, married, rules for 

indexing, 109, no. 
Words, number of, in different 

sizes of type, 70, 71. 

Young Men's Christian Asso- 
ciations, rule for indexing, 
123. 

Zu {Zum, Zur), rule for in- 
dexing, 115. 






.i£^ Y 0F CONGRESS | 



027 250 693 



Utf 

sk Book 



wwmtwsm_ : . 



